"The 11th release on Minimal Wave, is Graham Philip DAnceys The Sacred Project EP. A 12" pressed on white 160 gram vinyl, the EP is presented in a matte white cover with a drawing called the Eyes of The Universe printed on it. The project consists of 4 tracks, all of which have been remastered and sound incredibly warm and full. The first track was originally released in 1981 as single entitled Sacred Heart and is highly sought after today. Aside from that single, Graham released several LPs in the early 80s. Alluma, which is a pure analogue synth soundtrack style LP and Chinese, a library LP with some unusual instrumentation plus a couple of killer electronic cuts. Very interesting and wordly stuff. Limited to 500 numbered copies, 160 gram white vinyl." - Minimal Wave.

"The latest from the ever-changing YELLOW SWANS camp. You get two songs recorded by micing the room the band performed in rather than their usual lined-in direct to computer approach. After the songs were completed they were sent to a couple of friends to record vocals. The A-side, "Alchemical Blonde," features EVA INCA ORE (ALARMIST, GANG WIZARD), while the flip, "Oh! The Czar," features SAM MICKENS (DEAD SCIENCE)."

"Piecing this one together meant running deep into the YS haze cloud that was 2005 cassette releases. weve got a bit of all of em on here (23 productions, tone filth, split with Skaters, split with Sex With Girls) and its just a fucking CLOUD. nothing quite as uncompromisingly blissed as Drift, but still totally faded and OMINOUS... More than anything (including the likes of Psychic, and Drift), the tracks on this release have informed the YS sound NOW. Way fewer beats, way more space, WAY WAY MORE SPACE. Tons of drones and zones, weird sounds that I dont even know what made em.. maybe it was the animals in the place we were living/practicing in? maybe it was Gabes power animal rolling out to rock and roll? Unknown. All I know is that there are phantom beasts all over this mess and Im real proud of it! edition of 1000 split release with PacREC" - JYRK.

"The second volume, this time a collection of darker and more sinister live recordings taken from their tour in Europe early 2006. 42 black minutes of creepy soundscapes painting a depressive picture of a world going down in dust and ashes. The 5 songs all has a weird desperate and dense apocalyptic feel to them, making this a haunting and very bleak experience. Trashy dark rumblings and total coldness. Again very well-edited stuff by Pete Swanson, works more like a full proper album than just a collection of random recordings. Amazing! Comes packaged in a Dual Plover full color sleeve with black felt. Cover drawings by Liz Harris of Grouper. 1000 copies." - Release The Bats.

"Im extremely honored to release this one-sided
twelve-inch by one of my favorite bands, D. Yellow
Swans. 1/4" Tape, Guitar, Voice, Drum Machines,
Microphones, Mixer Feedback, Various Electronics and
Two Wonderful Fellas (formerly of Mur*der and
Boxleitner) from San Francisco-via-Portland who craft
Wolf Eyes-style pieces that build up to mammoth walls
of noise via keyboards, guitars, processors, etc. This
record is live recordings from Sacramento and Arcata,
circa fall 2003. Theyve collaborated with Dead
Science in the past, as well as sharing the stage with
Nice Nice, Burning Star Core, Wives, and oodles of
others - just so ya know where these guys are coming
from. Forthcoming releases on Narnack, Deathbombarc,
and gobs more. They improvise off each other to create
the mesmeric, volatile yet controlled chaos of
electronic sear, rasp and burn. Full spectrum
tonality, sonic exploration, the opening of new doors
of perception, spiritual journey, and the
establishment of new, meaningful shared cultural
experience in the tradition of folk and native musics
from around the globe invoking Freedom, Happiness,
Love, and the sharing and incitement of these feelings
in others. Positivity. Total Liberation. Limited to
500 copies." - Weird Forest.

"Fantastic album of pure guitar and drums brutality (and the first non-Japanese release for PSF in several years) from the greatest noise musician in China, Li Jianhong. Long resident in Hangzhou, Li has released several records on his own 2pi label, including solo noise work for TV monitors and an album by his avant-rock unit, Second Skin. He also curates the annual 2pi noise festival in Hangzhou. He played at the Nuit Blanche festival in Paris in 2004, and this will be his second non-Chinese release. It is kind of amazing to think that China has already managed to produce a musician as au fait as Li Jianhong obviously is with the whole free noise aesthetic. D!O!D!O!D! is a full-on duo with drummer Huang Jin that mines the rich seams previously explored by Munehiro Naritas Kyoaku no Intention and Rudolph Greys Blue Humans. Endlessly thrilling free psych-noise guitar blurt that bundles up enough flailing electric energy to illuminate half of Shanghai." - Alan Cummings.

"D. CHARLES SPEER returns with a new album of personalized Americana. As one casual listener once noted to the band after a performance, "You guys play both types of music...country and psych." And its true that the sounds contained on After Hours do act on the mind as much as they tug at the heartstrings. Replete with tales of mental breakdown, infidelity, drunken advice, wartime hucksters, heartbreak, and redemption, the first album by D. Charles with his backing band will surely immediately stand out amongst the shards of gothic Americana that litter our fair sonic landscape." - Sound@One

"D. Charles Speer aka Dave Shuford is a founding member of the long running No Neck Blues Band and also known for his work with Enos Slaughter, The Suntanama, Egypt Is The Magick #, and Coach Fingers. Arghiledes is the second Speer solo album and is a vinyl only release limited to 500 copies with free download coupon. Arghiledes is greatly influenced by Shufords Greek heritage and will appeal to fans of early 20th century Greek music as well as recent archival Arabic and Greek recordings reissued on labels such as Mississippi and Honest Jons, and to those following modern takes on Arabic music (i.e. Sir Richard Bishops Freak Of Araby)." - Thrill Jockey.

"A true solo endeavor, this LP is the debut of D. Charles Speer on long player. Recordings over a span of 4 years have been assembled here into a rumination on loss in its many forms - loss of direction, loved ones, home, mental acuity, money, and emotional stability. Pressed on 180 gram virgin vinyl and limited to 500 copies." - Sound@One.

"The much-anticipated blast-off release for Speer and his band. Recently rewarded 5 stars in Time Out mag by the music editor, this album is a landmark in laid-back blues and country songwriting, feat. members of NNCK and Sunburned." -S@1. "The inimitable Mr. Speer coined the term himself upon titling his pre-Helix full length release�?� Forgotten Country. Not so much a forgotten people of a state or a rural area. Not so either some Souths gonna rise again moonshine. More so a return to a way of presenting a music in the context of a tradition (something those boys in the band are pretty high on.) But this isnt your grandfathers Bakersfield were dealing with. Tho the tongue of the balladeer may spin tales ripe with a cast of characters including �??the Pastor�?� Randolph Healey, Cheese Frog, the man from HHS, Uncle Ernie, that guy with the black mustache and red Caddy who stole your girl, and the true born sons of Levi, he sings them not only with the twang of the roadhouse, but tainted with the grit of the streets of the big city. As one casual listener once noted to the band after a performance, �??You guys play both types�?� Country and Psych.�?� And its true that the sounds contained on After Hours do act on the mind as much as they tug at the heartstrings. Replete with tales of mental instability, infidelity, drunken advice, wartime hucksters, heartbreak, and redemption, the first album by D Charles with his backing band will surely immediately stand out amongst the shards of gothic Americana that litter our fair sonic landscape.Edition of 500 Recorded at Black Dirt Studio"- Black Dirt. Black Dirt is the new in-house label from Jason Meaghers (NNCK, K Salvatore, Coach Fingers, D Charles Speer and the Helix, etc...) Black Dirt Studios in upstate New York.

"It is a tremendous understatement to say that it is with grand excitement that Three Lobed Recordings is proud to announce the release of Distillation by D. Charles Speer & the Helix. For the last couple of years we have been continually excited by each of the fruits that have resulted from Speer/Helix collaboration. For our money, 2008s After Hours album was one of the best released by anyone. Distillation only ups the ante from that prior full length by elaborating upon some of the musical themes from the late 2008 In Madagascar 7". The resulting album presents a tightly focused modern honky tonk quintet more than happy to blur the lines between country, psychedelia and the overall American musical tradition. Consisting on this album of D. Charles Speer (aka Dave Shuford from the No Neck Blues Band and Enos Slaughter), Hans Chew (last seen providing some ripping piano accompaniment on Fishtown Flower from Jack Roses The Black Dirt Sessions), Marc Orleans (Enos Slaughter, Sunburned Hand of The Man), Jason Meagher (No Neck Blues Band, Coachfingers) and Rob Gregory (the Suntanama), the Helix are a seriously experienced and talented crew. Distillation was recorded over time between the winter and summer of 2008 at the bands home away from home, Meaghers Black Dirt Studios in Westtown, New York. Includes a limited edition glass-mastered CD titled Of Snow Smoked Moose presenting a full, killer live set from the full band recorded on April 25, 2008 at the Turf Club in St. Paul, MN. This CD is not available separately." - 3Lobed. Gatefold sleeve.

"featuring a plethora of voices, with D. Charles, Margot Bianca, and Hans Chew all clocking time on the mic. This release expands concepts of wealth in a time of crisis." - Sound@One. Members of NNCK and Sunburned. Recorded winter 2007-2008.

"Leaving the Commonwealth is the third full length by D. Charles Speer & the Helix and features their most accomplished playing and songwriting yet, setting a high watermark for narrative honky tonk rock at this late date. Inspired by swaggering, outrageous and engaging sonic tales like Cowboy Jack Clements Millers Cave, this album features byzantine songs which flow surprisingly quickly and with natural grace. The album opener Razorbacked emits nourish cinematic imagery and twists which are matched with music sparked from a wasted mid 70s cassette from Peaches or Turtles. Numerous musical luminaries, including Freddie King and Clifton Chenier, are invoked and celebrated in song. Other tracks like Cumberland and Battle of the Wilderness are historically detailed and geographically specific chronicles. Dense tones flow from all corners, with guitar sounds reminiscent of Fripp or Manzanera on one end and the pedal steel tones of Emmons and Mooney on another. Beautifully recorded by Jason LaFarge of Seizures Palace in the urban environs of Brooklyn, this album is southern by lyrical setting, country by instrumental arrangement, rocking through its rhythmic heft and most certainly contemporary in attitude." -Thrill Jockey.

"Seeking refuge in songcraft, D. Charles Speer and the Helix spin tales of
mental instability and institutional exploitation into a thick, heady,
groove laden brew. The professorial attack of the ivories, the sear of the
strings, the pounding of drum skins amass into a righteous storm bound to
overwhelm those uncoverted. This is an unholy mix of heart ripped vocal,
Longhair piano, and guitar work drawing from both Mike Bloomfield and
Norman Westberg. Featuring silk screened covers and hand stamped interiors,
these retro-radicals propose the final alignment of Khnum with the phoenix." Features members of NNNK and Sunburned Hand Of The Man.

"Founded in September 1981 in Orleans, and originally dedicated to a kind of "modern punk rock," D.Stop released a first 7 the following year (to be reissued later on Desire with extra tracks). After their first 7", Sonny Brailleur (vocals) + Phil Lethon (guitar/bass) + Klod Lelook (organ, synths, drum-machines), inspired by French band Métal Urbain, stylistically transformed into a more "synth punk" kind of outfit and released their first mini-album Nouvelles du Front in September 1983. Only released in an edition of 500 copies on the small indie label Romance, the album now changes hands for $150. One year after, the band already ceased to exist -- or actually changed their name to Les Visiteurs du Soir -- to turn back to the old name in 1985 by releasing a limited MC. Despite the very few releases by this gifted act, D.Stop are considered to be one of the most interesting and under-rated cult acts in French cold wave. For fans of Métal Urbain, D.A.F., Screamers, Devo, etc. 300 copies on black vinyl. 350 gram sleeve with insert. Includes a download card." - Desire.

"Debut album by sci-fi oriented vintage synth duo who recently relocated to Los Angeles from Texas. Very outsider in that they were completely unaware of the current synth revival going on in the American underground (Emeralds, OPN, Caboladies, et al). D.A. began recording after being commissioned to make soundtracks for floatation tanks at a new age center in Texas. A chance meeting at a cafe led to the duo handing dozens of hours of these sessions to OESB. This album features some standouts from those early recordings. Their time in Los Angeles has been highlighted by a series of private rooftop concerts that overlook training grounds for the L.A.P.D. riot squads - the scrambling helicopters and practice gun battles below adding to the sinister dystopian vibe of their compositions. Limited numbered run of 400 copies, silkscreened by Monoroid on heavy duty chipboard jackets." - OESB.

"Bureau B reissues the first Deutsch-Amerikanische Freundschaft album, originally released in 1979. True D.A.F. connoisseurs will, of course, be aware of the early phase of the Düsseldorf-Wuppertal combo. But most fans of the subsequently world-famous duo may well be taken aback when confronted with their debut album: forceful synth bass sounds, snappy rhythms, Gabi Delgado and leather all conspicuously absent. In their place, pure instrumental, unstructured noise-rock, played by long-haired and moustachioed types. A band can barely have undergone a more extreme metamorphosis. Gabi Delgado joined the band (hitherto comprising Robert Görl, Kurt Dahlke/Pyrolator, Wolfgang Spelmans and Michael Kemner), before the band discarded the name of YOU and christened themselves Deutsch-Amerikanische Freundschaft. And he was also on board for the first recording sessions at Studio 56 in Mühlheim. Disappointed with the results ("too close to Schlager," the band thought) and "less than happy" with Delgados vocals and lyrics (as Pyrolator, responsible for electronics, noted), the group dispensed with Delgados services. Yet the creative will was undiminished: "We really wanted to make a record. All the Düsseldorf bands -- Male, Mittagspause -- already had an album out, everyone except us," and with the singer now gone, an instrumental album was the only option. In the wake of the studio debacle, the decision was made to take the recording into their own hands. A tape machine and two microphones were set up in Wolfgang Spelmans living room and ten days of unbounded improvisation ensued. And thus it was completed, Produkt der Deutsch-Amerikanischen Freundschaft: 22 tracks, ranging from 19 seconds to three minutes in length. The influence of Can is clearly audible. Considering the fact that other prominent noise-rock bands such as Chrome, Flipper or even Sonic Youth recorded similar music at a much later date, this "product of Deutsch-Amerikanische Freundschaft" should certainly be recognized as a pioneering work. Possibly even the first noise-rock album the world had seen or heard. Was the world ready for such brutal, nihilistic sounds in the late 1970s? The world of record companies was not. Unable to find a label, D.A.F. proved to be not only pioneers of noise, but also pioneers of DIY. They found help from the local bank, with Pyrolator putting up his car for credit amounting to 3000 Marks. A logical step, as he was already running a cassette label called Warning Records (later becoming Ata Tak). Produkt Der Deutsch-Amerikanischen Freundschaft was the first LP on the label and was given the catalog number WR 01/LP/1979. Sales were so good that Pyrolator was able to pay back his loan quickly. Housed in a digipak with liner notes, rare photos and memorabilia." - Bureau B.

2014 repress. 180 gram vinyl version. "Bureau B reissues the first Deutsch-Amerikanische Freundschaft album, originally released in 1979. True D.A.F. connoisseurs will, of course, be aware of the early phase of the Düsseldorf-Wuppertal combo. But most fans of the subsequently world-famous duo may well be taken aback when confronted with their debut album: forceful synth bass sounds, snappy rhythms, Gabi Delgado and leather all conspicuously absent. In their place, pure instrumental, unstructured noise-rock, played by long-haired and moustachioed types. A band can barely have undergone a more extreme metamorphosis. Gabi Delgado joined the band (hitherto comprising Robert Görl, Kurt Dahlke/Pyrolator, Wolfgang Spelmans and Michael Kemner), before the band discarded the name of YOU and christened themselves Deutsch-Amerikanische Freundschaft. And he was also on board for the first recording sessions at Studio 56 in Mühlheim. Disappointed with the results ("too close to Schlager," the band thought) and "less than happy" with Delgados vocals and lyrics (as Pyrolator, responsible for electronics, noted), the group dispensed with Delgados services. Yet the creative will was undiminished: "We really wanted to make a record. All the Düsseldorf bands -- Male, Mittagspause -- already had an album out, everyone except us," and with the singer now gone, an instrumental album was the only option. In the wake of the studio debacle, the decision was made to take the recording into their own hands. A tape machine and two microphones were set up in Wolfgang Spelmans living room and ten days of unbounded improvisation ensued. And thus it was completed, Produkt der Deutsch-Amerikanischen Freundschaft: 22 tracks, ranging from 19 seconds to three minutes in length. The influence of Can is clearly audible. Considering the fact that other prominent noise-rock bands such as Chrome, Flipper or even Sonic Youth recorded similar music at a much later date, this "product of Deutsch-Amerikanische Freundschaft" should certainly be recognized as a pioneering work. Possibly even the first noise-rock album the world had seen or heard. Was the world ready for such brutal, nihilistic sounds in the late 1970s? The world of record companies was not. Unable to find a label, D.A.F. proved to be not only pioneers of noise, but also pioneers of DIY. They found help from the local bank, with Pyrolator putting up his car for credit amounting to 3000 Marks. A logical step, as he was already running a cassette label called Warning Records (later becoming Ata Tak). Produkt Der Deutsch-Amerikanischen Freundschaft was the first LP on the label and was given the catalog number WR 01/LP/1979. Sales were so good that Pyrolator was able to pay back his loan quickly. Printed innersleeve with photos and notes by Carsten Friedrichs. 180 gram." -Bureau B.

"D.C.A. is a collaboration by J.M. ONNI of Le Syndicat and Hitomi of Beast 666 did in 80s. ODAL is a dutch noise veteran since 80s and a member of the infamous FCKNBSTRDS. For the fans of early CE, Mauthausen Orchestra or pure shortwave radio noise.
Art direction by Mike Diana Ltd.80." - Hate Song (new side label of Temple Of Be Saint 777).

"CDR reissue of three earlier cassette tape releases in their original mix before the tracks were dispersed into three different releases from: Pacific Rat Temple Band/Body Of Consciousness..." -New Age

"Were proud to present a limited edition reissue of one of our favorite cassettes, The Dadacomputer. The Dadacomputer was the first incarnation of what would later become Five Times Of Dust. It was the result of a collaboration between Robert Lawrence and Mark Phillips who came together during the summer of 1981 living between Bristol and Cardiff, UK. They collaborated by sending tapes back and forth through the mail and also worked together in their respective home studios. Later that year, they self-released The Dadacomputer on both MAP tapes and Quick Stab. Roughly 100 copies were made in total and soon sold out.
We discovered the tape a few years back with great excitement and favored one track in particular, Computer Bank. Soon after we tracked down Robert Lawrence and licensed it for The Hidden Tapes compilation. The track was an instant hit, both at home and on the dance floor. The limited cassette run of The Dadacomputer will be released on May 4th, in conjunction with the Brooklyn Flea Record Fair. It is essentially an introduction to the world of Five Times Of Dust. A double LP of selections from the vast Five Times Of Dust archives (over 15 hours of recordings) will soon follow, slated for release later this year." -Minimal Wave.

"The complete recorded works of this now defunct New Zealand band, including the 2 singles on Majora, Drag City comp track and This Is Not A Dream LP (also Majora). Some of the coolest mantra-dream rock of the last decade." -Kranky. 90s CD issue of the entire Dadamah discography. Peter Stapleton (The Victor Dimisich Band, The Vacuum, Scorched Earth Policy, Terminals, Flies Inside the Sun, etc..), Kim Pieters ( Flies Inside The Sun,Doramaar, Rain, etc), Roy Montgomery ( The Pin Group, The Shallows, Dissolve, Hash Jar Tempo, etc.) and Janine Stagg.

"Two unreleased tracks from DADAMAH, recorded in the early 90s. You may expect beautiful murky vocals from KIM PIETERS and ROY MONTGOMERY, bleak jangly bursts of guitar and droning organ/synth sounds. Pressed on red and purple vinyl, this work features Kim Pieters, JANINE STAGG, PETER STAPLETON and Roy Montgomery." -Yellow Electric.

"Each time Raymond Dijkstra records, it seems to come out under a different name. In the past he has used Ki Sync Pulse and Razoul Uzlü, and now he becomes Dadaphon. The changing names make sense because each project is so different. In this guise, he has created two wonderful pieces of reverberant junk noise. These slow motion pieces (as opposed to the more intense cut ups of Razoul Uzlü) would lead one more to think he was a contemporary of Merzbow, MB and TNB than a contemporary artist. Add to this the simple cover with its paste on photocopy collage (each copy different), it looks a genuine artifact from a previous decade, the sort which would be coveted by now. An edition of only 400 numbered copies." - Vital Weekly. Limited 10" (with hand made covers) of weird electronic scrapings by Dutch sound artist Raymond Dijkstra. Dijkstra also has a project with Af Ursin under the name ASRA. Restocked.

Re-pressed. "Dark, hypnotic, tripping nyabinghi from 1974. Led by Jamaican Rastafarian singing hand-drummer Ras Michael over four extended excursions, the music is organic, sublime and expansive, grounation drums and bass-heavy (with no rhythm guitar; rather, Willie Lindo brilliantly improvising a kind of dazed blues). Lloyd Charmers and Federal Studios engineer George Raymond stayed up all night after the session to mix the recording, opening out the enraptured mood into echoing space, adding sparse, startling effects to the keyboards. At no cost to its deep spirituality, this is the closest reggae comes to psychedelia. Previously squandered in an incongruous 2-for-1 reissue, now lovingly returned to its original, singular glory at Abbey Road. Pressed on super-fly vinyl and housed in new standard-printed sleeves." -Dug Out.

"2010 release restocked: new lower pricing. Dark, hypnotic, tripping nyabinghi from 1974. Led by Jamaican Rastafarian singing hand-drummer Ras Michael over four extended excursions, the music is organic, sublime and expansive, grounation drums and bass-heavy (with no rhythm guitar; rather, Willie Lindo brilliantly improvising a kind of dazed blues). Lloyd Charmers and Federal Studios engineer George Raymond stayed up all night after the session to mix the recording, opening out the enraptured mood into echoing space, adding sparse, startling effects to the keyboards. At no cost to its deep spirituality, this is the closest reggae comes to psychedelia. Previously squandered in an incongruous 2-for-1 reissue, now lovingly returned to its original, singular glory at Abbey Road." - Dug Out.

"Mark Dagley, although largely focusing on his visual art for the last many years, is a musician whose work has always intrigued us. We already issued some of his work with The Girls (FTR 220LP, 2015), Hi Sheriffs Of Blue (FTR 093LP, 2014) and Marianne Nowottny (FTR 221LP, 2015). Now, heres Collected Works, only the second album issued under his own name. We had bugged Mark for a good long while about digging up the tapes for the Shut It Up/Gossip Crowd single hed done back in 79 (immediately precursing the Hi Sheriffs), and when he transferred that material to cassette, he included some newly unearthed electronic work done at the same time he was working with The Girls. The stuff was great, collapsing waves of splendid analog murk, so we immediately requested a full album of solo material. The resulting set spans almost 40 years of work and ranges from experimental blues explosions for solo guitar to drone-oriented electronics, transcriptions for a mechanical music box, and the splutzo No Wave kuck we had originally asked about. It documents four decades of strange invention, carried out almost fully beyond the view of the record buying public. Its a lucky break for you that we had the moral fiber to bring this mother to ground. Its an amazing and mysterious listen from first note to last." -Byron Coley, 2017.

"Strangelove present its first project, two songs from Lena Dagua, one of Portugals great musical acts of the early 1980s. Combining a siren presence and soaring vocals, alongside songwriter Luis Fonseca and backing band Atlântida, they released a series of records that wove through the avant-pop sensibilities of the time. Collected here are two of their more leftfield moments; "Jardim Zoologico" is a beguiling mix of new wave, post punk, and dub into a short sharp pop format. The calmer "Tao" takes Fonsecas keyboards towards more Eastern territories, conjuring up a dreamy synthesized new age vibe." - Strangelove.

大凶風呂敷 [DaiKyoFuroShiki] is Tamio Shiraishi and Cammisa Buerhaus. Yuu is their debut LP.
The record documents their improvisations, capturing their evolution from free music toward minimal electronics in 11 tracks. Recorded over the span of a year everywhere from downtown Manhattan artist lofts to Brooklyn living rooms to warehouses by the water.
Shiraishi plays saxophone and voice. Buerhaus plays the Chroma Color Organ, her self built pipe organ, as well as electric guitar, voice, shortwave radio, and a Soviet synthesizer.
This is a limited edition of 500. Cover art by C. Buerhaus. Mastered by Bhob Rainey. - Wild Flesh.

"大凶風呂敷 are Cammisa Buerhaus and Tamio Shirashi, a dash of twin impossibilities out of time yet essentially contemporary. They are the best new unit in lower New York City. Buerhaus is a leader in the new wave of hand made sound. She puts a youth spin on the Broken Music approach of classically decadent avant-garde sonic events and the plastic esoterica of a figure like, say, Anne Gillis. With 大凶風呂敷, she plays her self built wood organ, half part sound sculpture, half part hallucinatory drone machine. Shirashi needs no introduction; he was a central figure in the Club Minor scene in Japan, jammed in Taco and A-Musik, helped form Fushitsusha, has released various works of site specific saxophone playing. His style is some of the most atom splitting minimalism to ever locate your body in space. Thus, the sound of 大凶風呂敷 is a tense drama whose nerve chilling minimalism literally encodes the space for terrifying truths to appear all around you." - Ravi Binning.

"Daily Life are a two piece from Providence, RI. After several tapes on Unskilled Labor, the band (CF- vox/synth, Sakiko Mori - synth) decided to enter the studio with Jeff Zeigler (Philly studio wizard) and emerged with a sugar glazed classic of monstrous icy proportions. "Necessary and Pathetic" sketches out a sputtering romantic vision replete with horny armies emerging from the darkness set to a lush trash strewn landscape equipped with sputtering drumbot rhythms. Croon power is set to 10 to ensure moist thongs. Vocals bring forth stories of aimless midnight wanderers, smarting from discipline, and lustful pilgrim rituals with the hard sting of the sunrise. This is not a lo-fidelity stab at synth-pop but a fully formed set of songs executed with maximum vision. After all the buildings fall and the survivors are wandering the wasteland scrounging for dogfood, there will be few truths, but do realize this: the few things of beauty and grandeur, such as Daily Lifes "Necessary Pathetic" will exist to instruct the human dog pack to a greater destiny. Stock the shelter with at least one copy." - Load write-up for "Necessary Pathetic". "..flexi features a different, earlier version of "My Time" than the "Necessary And Pathetic" LP version. The song "Daily Life" is previously unreleased. Pressing of 300 on clear vinyl." - Glass Coffin.

"Daily Life are a two piece from Providence, RI & have emerged with a sugar glazed classic of monstrous icy proportions. Necessary & Pathetic sketches out a sputtering romantic vision replete with horny armies emerging from the darkness set to a lush trash strewn landscape equipped with sputtering drumbot rhythms & croon power set to 10 to ensure moist thongs. This is not a lo-fidelity stab at synth-pop but a fully formed set of songs executed with maximum vision. Limited to 500 copies." -Load

"Daily Life are a two piece from Providence, RI & have emerged with a sugar glazed classic of monstrous icy proportions. Necessary & Pathetic sketches out a sputtering romantic vision replete with horny armies emerging from the darkness set to a lush trash strewn landscape equipped with sputtering drumbot rhythms & croon power set to 10 to ensure moist thongs. This is not a lo-fidelity stab at synth-pop but a fully formed set of songs executed with maximum vision." -Load

"The third installment in Sacred Bones 12-inch EP series comes from Daily Void. The Chicago band which includes 3/4 of the Functional Blackouts and who cut their teeth with singles for Boom Chick, HoZac, and Floridas Dying pick up where they left off on their previous full length with a half dozen songs of disjointed, death-tinged noisy punk. Shades of Rudimentary Peni and some off the lesser celebrated acts on Crass Records course through this slab of vinyl." - Sacred Bones.

"Warehouse find. Band from Rudiger Klose, drummer of 39 CLOCKS & KASTRIERTE PHILOSOfEN. This was his first solo work: dark instrumental tribal music with indian lyrics. Red vinyl and gimmick cover (printed laminate overlay) . Handnumbered limited edition from 1991. In meantime this album has become quite collectable." Coming from the same universe as BLACK VIAL, P.L.O., BEAUTY CONTEST, FLOATING DIMOREL, EXIT OUT, THE COCOON, etc..

"Chris Douglas story reads like a lesson in the development of outsider electronic music over the past 20 years. He began throwing the first ambient techno parties in San Francisco at just 16 years old, and moved to Detroit a year later to begin working with Mike Banks (Underground Resistance) and James Stinson (Drexciya). He relocated to Berlin in the early 2000s after being invited to support Autechre on their Confield tour (and perform at the now legendary Autechre-curated ATP Festival) and has since then steadily released challenging and intense records as Dalglish, O.S.T., Scald Rougish, and Seaes, all the while maintaining an elusive personal profile. He has also worked extensively in film music, having recently composed the soundtrack for Anna Eborns film Pine Ridge, which had its world premiere at the 70th Venice Biennale. Furthermore, he is a founding member of audiovisual collective SYNKEN featuring members of Transforma. His PAN debut, dedicated to his friend, the sadly-deceased musician and Isolate Records founder Wai Cheng (Optic), is a complex and cavernous exercise in texture and rhythm, marrying the freedom and tonal breadth of electro-acoustic composition with percussive patterns disjointed to the point of collapse. It is easy to see how his work is often critically-received as emotionally challenging. There is a closeness to these compositions, and his muscular, full-spectrum passages are often counteracted with brittle and delicate detail. Unhinged and unrestrained, you will be hard pressed to find a single loop throughout the entire album, with each of the compositions mutated through vividly reverberating, clangorous landscapes. Mastered and cut by Rashad Becker at Dubplates & Mastering, and pressed on 140 gram vinyl which itself is housed in a silk-screened PVC sleeve with artwork by Bill Kouligas and Kathryn Politis." - Pan.

"Debut album from the Edinburgh-based duo of Marc Dall and Alex Ander, who work with intricately-stacked percussion, dub-wise bass and a rich harmonic tapestry of processed voices, keys, harp, vibraphone, guitar, woodwind, strings and synthesizer -- every sound re-sampled to the nth degree then subjected to subtle automation and rigorously fine-tuned over a period of many months. From the mesmerizing, pastoral drift of "Anger Sees Red" and "Dwelling by the Meadow" to agitated arabesques like "The Physical Body" and the self-titled "Dalhous," the resulting pieces explore dream-like but treacherous terrain. Eleven questions in a world of blue." - Blackest Ever Black.

“Gatefold double LP version with mp3 download. Will to Be Well is the new studio album by Dalhous, their second for Blackest Ever Black. This double LP reflects writer-producer Marc Dalls continued interest in the life and arcana of R.D. Laing, but also alludes to more universal and enduring mysteries: the relationships between body and mind, illness and wellness, the physical and the metaphysical. The 15 tracks assembled here also showcase the maturation of a uniquely gifted and expressive composer: Dalls stirring, efflorescent melodies and stately harmonic architectures, with their grievously honed simplicity, are a delight: lucid, lyrical, immediate. For all the modernity of Dalhous approach, the album recalls a bygone era in synthesized and sample-based music, a time when its practitioners were not just set-designers but storytellers, too. Will to Be Well arrives just one year on from the Edinburgh-based projects tenebrous debut, An Ambassador for Laing (BLACKEST 003CD/LP), which was released to widespread acclaim in Spring 2013: The Wire praised "a frequently beautiful music, whose often calm surface belies the powerful currents moving beneath it," while FACT called the LP a "wonderfully compelling head-scratcher... opaque, elusive ... and fascinating." Nonetheless, a notable shift in tone has occurred in the 14 months that have elapsed. If Ambassador was a tussle between darkness and light that ended in stalemate, with Will to Be Well it seems the light might just be winning. Pieces like "Transference" and "Her Mind Was a Blank" project a rapturous psychedelic intensity; "To Be Universal You Must Be Specific" and "Entertain the Idea" adopt the serene ambient register of recent Dalhous EP Visibility Is a Trap; while "Sensitised to This Area" goes about its business with an almost Balearic swagger. But light, too, can be oppressive: the sun that gives life can also burn, and bleach, and blind. And even amid the endorphin rush of the albums most ebullient passages, there is the sense of a greater melancholy, an intractable doubt, lurking beneath the surface. Dalhous music is suitably paradoxical, managing to sound at once futuristic and folkloric, both technologically advanced and avowedly pastoral. The elegiac repetitions of "A Communion With These People" and the pagan drones of "Lovers of the Highlands" speak of Dall and his studio partner Alex Anders deep connection to the rugged contours of their native Scottish landscape, while on "Four Daughters by Four Women" and "Thoughts Out of Season" convulsive post-rave rhythms are employed to evoke ancient natural cycles. Though Will to Be Well is a less obviously eerie album than its predecessor, Dalhous nose for the uncanny remains. A defining album from a major young artist.” - Blackest Ever Black.

"For her follow-up album to 2012s Commotus (HEM 019CD/LP), Lucrecia Dalt treats listeners to a perilously brief, intricately conceived meditation. At times rich and cinematic, and at other times, delicate and fragile, Syzygy is a journey into a kind of Ursprung of beautiful distress. Another stylistic leap for Dalt, Syzygy eschews her quietly textured, bass-guitar-driven method of song craft for a more direct approach to production. Syzygy furthers her previous albums raison dêtre, being never simply easy to get, but never forbidding or inaccessible. Composed in a whirling interstitial moment between Barcelona and her recent relocation to Berlin, Syzygy brims with uncertainty and suspense. Fluttering arpeggios, unexpected bursts of tone, surrealistic tropical interludes, and deep, contrapuntal sub-bass drones are the language of Syzygy. Its hard not to make a comparison to the zoo of elementary particles, or a space age sound library; Except the album advances forward with such inexorable cohesiveness that its brevity comes as the most electric shock of all. Dalts trilingual vocals (Spanish, English, Catalan) ride the edge between psychological drama and philosophical reverie, swirling complex themes sourced from texts by Walter Benjamin, Italo Calvino and films by Antonioni and Bergman, into a freeform confessional fabric. Dalt let these classic films run straight through while she worked on the album, allowing the films sudden changes of mood and tempo to push her music in new directions, as if these cinematic moments were simply stems in the mix. The end result is a listen more tempting, and yet more mystifying than ever. Syzygy encourages repeat listens and addictive contemplation, and represents Dalts most definitive statement yet. Cover image by Tonje Thilesen. Includes download code." -Human Ear.

"Thrilling second album by the duo made up of Greg (Gary War) Daltonand Rob (Sunburned Hand of the Man) Thomas. The first album was recorded and pressed a while ago but has yet to be actually released. Perhaps because these guys are operating under Nigel Senadas Theory of Obscurity (see The Residents Not Available). Or perhaps not. Only time will tell. Regardless, this sophomore effort is nothing but a goddamn corker. Knowing something about the work ethic of this pair, I had suspected this LP would be filled to the bong-lip with loosely unstructured jams and zingers. And while those elements are indeed part of the parcel, they are mere details in a large, richly varied and luminous whole. Dalton brings his multi-various musical New Zealand ex-pat weirdnesses to the party, and Thomas draws deeply on his intense Massachusetts record collector powers to create tunes and bridges and sighs that make sonic images skip across the surface of your brain like the smoothest stone on the planet. The two conjure up all the sounds on their lonesome, apart from some drum bits by New Zealand form-manster, Kraus, and some background vocals by fellow kiwi Clementine of Purple Pilgrims fame. You can hear twinges of all kinds of heavy cult tunage smeared into the corners -- a bit of Hoelderlin here, a smudge of Relatively Clean Riversthere -- but what it most recalls are the highest echelon exploit-o drug-powered records like LSD Underground 12 or The Happening by Fire & Ice Ltd. As a piece of music its as thoroughly toasted as either of those, managing to be higher key and low-key at same time. Pretty fuggin brilliant. Lets hope the other album gets cut loose soon!" - Byron Coley, 2016. Edition of 300.

"In 1966, Carl Baron brought his reel to reel over to her remote cabin in Summerville, Colorado and recorded one of those exquisite musical evenings. Karen and Richard Tucker were rehearsing for a gig when Carl hit the record button. The result is a 45-year-old tape, carefully exhumed, documenting Karen at her most raw and unfiltered. On it are Fred Neil and Tim Hardin songs weve never heard Karen give voice to before, as well as traditional songs she uncannily makes her own, including a devastating version of Katie Cruel, that is so powerful, it is as if the ghost of Katie Cruel seeped into her blood. This recording is a window to her Summerville cabin opened, allowing us to eavesdrop on Karen Dalton at her most pure and unaffected. Newly unearthed rehearsal tape from 1966. Features Karen solo on banjo and guitar, plus four duets with Richard Tucker. Many never heard before covers including Reason To Believe and Dont Make Promises by Tim Hardin, and Other Side To This Life by Fred Neil. KD at her most intimate and unfiltered. CD booklet contains beautiful, unseen photos (including Karen with Fred Neil and Tim Hardin), and a 3500 word essay by Ben Edmonds (MOJO and currently working on a biography of Tim Hardin)." -Delmore.

"2014 repress. LP version housed in tip-on jacket, with four page heavy insert, exclusive color portrait and download card. "In 1966, Carl Baron brought his reel to reel over to her remote cabin in Summerville, Colorado and recorded one of those exquisite musical evenings. Karen and Richard Tucker were rehearsing for a gig when Carl hit the record button. The result is a 45-year-old tape, carefully exhumed, documenting Karen at her most raw and unfiltered. On it are Fred Neil and Tim Hardin songs weve never heard Karen give voice to before, as well as traditional songs she uncannily makes her own, including a devastating version of Katie Cruel, that is so powerful, it is as if the ghost of Katie Cruel seeped into her blood. This recording is a window to her Summerville cabin opened, allowing us to eavesdrop on Karen Dalton at her most pure and unaffected. Newly unearthed rehearsal tape from 1966. Features Karen solo on banjo and guitar, plus four duets with Richard Tucker." - Delmore.

"2015 repress of this acclaimed 2007 double album of previously unheard Karen Dalton live recordings from 1962. These recordings were an unexpected treat, following the hugely acclaimed 2006 reissues of Karen Daltons studio albums Its So Hard to Tell Whos Going to Love You the Best (1969) and In My Own Time (1971). Karen Dalton met Joe Loop in Boulder, Colorado, in 1962; Joe Loop made these recordings of Dalton singing and playing 12-string guitar and banjo at The Attic in Boulder in October 1962. Colorado was a hotbed of folk music; folk singers would stop off in Denver and Boulder en route to California and New York. The areas sparse population welcomed their company, at a time when young nonconformists were personae non gratae in most states. It was a cheap place to live, Boulder had a large university, and both Denver and Boulder had very active folk entrepreneurs. After missing her name in every music history book and encyclopedia for decades, it has since been noted that Karen Dalton was hugely influential on the founding father of folk rock, Fred Neil. Fred Neil only ever broke his reluctance to make public statements on one subject: his awe for and debt to Dalton. Karen Daltons first LP was recorded in 1969 and it was hard to guess whether she was inspired by Neil or the reverse. His song, "Red Are the Flowers," for instance -- released on his 1964 debut album Tear Down the Walls (as "Red Flowers") in a duet with Vince Martin -- was more in line in terms of style and tempo with the days hootenannys than with the LPs that Neil would eventually record in 1966 (Fred Neil) and 1967 (Sessions) under the benevolent laissez-faire production of Nik Venet. Karen Daltons rendition of "Red Are the Flowers" showcase her playing Neils song in the style that he would later evolve into, when unhinged, and foretells the lyricism that one Tim Buckley would self-admittedly lift from his all-time model, Neil. Another example is "Its Alright," a breath-taking cover of a Ray Charles tune. Another major singer-songwriter under Daltons spell, Tim Hardin, made no secret of his passion for Ray Charless music. Hardin is known to have turned from art to music because of his encounter with Dalton in New York, and he spent most of the 60s with her and Joe Loop around Boulder." - Megaphone UK.

"2015 repress; originally released in 2008. Another chapter in the ever-evolving story of Karen Dalton. These are home recordings, taped by Joe Loop, as was the acclaimed double live album Cotton Eyed Joe (MEGAUK 015CD, 2007). These recordings were made at Daltons home in Boulder, Colorado, on a reel-to-reel. It sounds like the album Dalton would have released in 1963 had she been given the opportunity. Here are the first takes of "Ribbon Bow," "Katie Cruel," and "In the Evening," and a more complete document of Daltons repertoire on banjo. During their first long stay in Colorado, Dalton and her husband Richard Tucker were lucky enough to find in Joe Loop an enlightened club owner who would book them often but who was also a self-taught sound engineer. Joe Loop recorded a couple of Daltons shows, and would also occasionally bring his reel-to-reel machine to Dalton and Tuckers house on Pine Street so they could record their burgeoning musical ideas. Some jams were recorded with Tucker trying his hand at the saxophone, without the ease he showed on vocals. But Dalton was overwhelmed by the reel-to-reel machines possibilities and would gladly experiment by herself with overdubs -- something of a portastudio a couple of decades before it became a musicians household commodity. By the grace of Joe Loops faith, we now have a document of what a 1963 Karen Dalton album would be like." - Megaphone UK.

"Major 2015 re-release of this absolutely essential all-time classic folk/blues album, originally released in 1969 and reissued by Megaphone in 2006. Includes booklet and stunning DVD with archival footage. Discovered by Fred Neil, produced by Nik Venet (the man who signed The Beach Boys and took The Beatles to America), and hugely influential on Tim Hardin, Karen Dalton is the lost girl of Greenwich Village, and this is her debut album. Bob Dylan, in his bestselling memoir Chronicles: Volume One (2004), writes, "My favorite singer in the place was Karen Dalton. She was a tall white blues singer and guitar player, funky, lanky and sultry... Karen had a voice like Billie Holidays and played the guitar like Jimmy Reed and went all the way with it. I sang with her a couple of times."" - Megaphone UK.

"The world of Krautrock was forever changed in late 1987 when the master tapes for the mythical never-released album by the early 70s trio Damenbart were discovered in Spain by a former associate of the band. The incredible find was whispered about in elite collector circles for months and when the tapes were finally played back publically for the first time, it quickly became apparent that all of the legend and hype that surrounded these mysterious 1971 recordings had been completely justified. The tapes were soon handed to members of the German experimental group Hirsche Nicht Aufs Sofa to give the album a proper release and allow this music to finally see the light of day. The resulting LP was immediately hailed as a classic of Krautrock, with one excited reviewer calling it "the best album Ash Ra Tempel never made!" Unfortunately, as this LP was issued in only a very small edition, many Krautrock fans wound up bitterly empty-handed. Now, once and for all, this amazing album is being brought forward again for all of the hungry ears out there to fully digest. In addition to re-issuing the recordings contained on the LP, this CD appends an additional 19 minutes of previously unreleased studio material from the original sessions, as well as a live track from 1972. The packaging features several photos of the band along with some mind-blowing collage art, and this CD is destined to become an instant favorite amongst enthusiasts worldwide. Limited edition of 750 copies." - Psychedelic Pig.

"Formed in 2009, Damien Dubrovnik is the Danish electronic duo of Christian Stadsgaard (Sarahs Charity) and Loke Rahbek (Sexdrome, Var, Lust For Youth), founders of the Copenhagen-based record label Posh Isolation. In their day-job as label managers, Stadsgaard and Rahbek have been instrumental in establishing the citys prolific and exciting noise/punk community and outgrowing their humble beginnings in noise/industrial culture by attracting a cult/fanatical worldwide following. Working together as Damien Dubrovnik, they have published work across two LPs, a handful of sought-after cassette releases, compilations and notched up numerous performances throughout Europe and Scandinavia. Their third LP, First Burning Attraction, draws explicitly from DIY minimal synth traditions and the canon of European industrial music, resulting in the strongest manifestation of their sound so far. Consisting of six powerful and varied tracks, the album features more of the brooding synth parts and ominous bass throbs that dominated the highlights of previous LP Europa Dagbog -- Europa Diary, yet it feels tenser and more atmospheric due to the application of new acoustic-based sound sources, primitive bass pulses and more disciplined dynamics. Rahbeks vocals, which were previously guttural and wild, appear more restrained here, giving the tracks an alluring air of ambiguity and suggestiveness -- no undirected aggression, but something more thoughtful and introspective instead. Mastered by Viktor Olsson and cut by Grammy Greg at Masterpiece studios in London, 2013." -Alter.

"Great Many Arrows is the sixth studio album from Damien Dubrovnik, the Danish duo of Loke Rahbek and Christian Stadsgaard. It is also the 200th release on their Posh Isolation label, marking eight years for both the label and project. The labels inception came with Damien Dubrovniks debut album, and since then the two have been inseparable. Without Damien Dubrovnik there would most likely have been no Posh Isolation, and vice versa. Great Many Arrows is undoubtedly a high point in the varied discographies of both Rahbek and Stadsgaard. It is the most realized Damien Dubrovnik recording to date, and a standout in Posh Isolations troves. As a record, Great Many Arrows manages to translate the intensity of the duos often unrestrained live shows in to carefully crafted studio productions. Unlike the pairs earlier and largely electronic recordings, the compositions on Great Many Arrows set organs, cellos, violas, wind, and other acoustic instruments against the backdrop of an electronic landscape. The new toolset is as apparent on the surface as it is in the enclosed detail, taking the project further from its noise roots than it has ever been. This is not to say that Rahbek and Stadsgaard have traded ferocity for formal constraint. It is rather the opposite. While Great Many Arrows is certainly the pairs most "musical" work to date, its veneer of accessibility might also make it their most terrifying. The strength of the recording lies in the interaction between the melodic, acoustic instrumentation and the bulldozing electronics. Moments of beauty and light are transfigured into utter chaos and rage, the mesmerizing change an expression of the equal and opposite forms natural sway as it beckons and slips between its own passing. Great Many Arrows takes its name from a historic archery competition in Kyoto, Japan, in which archers would shoot as many arrows as possible for a 24-hour period. On April 26, 1686, Wasa Daihachiro from Kishū successfully shot 8,133 out of 13,053 arrows, averaging 544 arrows an hour, or nine arrows a minute, becoming the record holder." - Posh Isolation.

"Copenhagen-based industrial duo Damien Dubrovnik (aka Posh Isolation founders Loke Rahbek and Christian Stadsgaard) follow up 2013s First Burning Attraction (ALT 008LP) with Vegas Fountain. Rahbek and Stadsgaard have continued to be consistently busy as label bosses but even more so as artists, performing more frequently worldwide and building a reputation for their fierce and powerful live show. They have also continued to hone their craft in the studio and found a working rhythm in which their live performance feeds into the studio work and vice versa. 2014s Patterns of Penetration 7" (ALT 701EP) was a teaser for this developing practice, but it arrives here full-force with Vegas Fountain, Damien Dubrovniks strongest work yet. In the first couple of minutes of opening track "On Its Double," you get a sense that things have moved forward artistically in Rahbek and Stadsgaards world. The clear production breathes a subtlety into some of the sonics here that perhaps wasnt revealed through the murk on previous records, heightening a tension that at some points breaks and dissolves into something almost melancholic -- evoked by the reflective landscapes of "Interior 2: See Water Glass" and "Interior 3: Matching Window Blinds." The attack remains however, with the punctuating saw-toothed bass notes and screaming tones of "Interior 1: Upper Lip" (considered "problematic" to cut by the mastering engineer), and the finale of the title-track, which has all the drama and explosive euphoria of their live show. Vegas Fountain is co-released by Alter and Posh Isolation." - Alter/Posh Isolation.

"A psycho-motorik fit of epilepsy is probably the best synonym for "Dämmerattacke!," but this Austrian new wave band were not only set on attacking your bodily movements, they were also set on attacking your ears. Tausend Seen was originally released in a very small quantity in 1982, and is now -- after 30 years -- available again in a remastered edition. Punk rock is skillfully combined with new wave, and this album has the disturbing yet catching feeling of Joy Divisions Closer and it is still an amazing, stand-alone piece of music. Walter Leinwebers melancholic voice adds the perfect portion "anti-pop" to the mix. It all adds up to an extraordinary recording of Austrian underground music history, which has long been out-of-print and very sought-after in the international new/cold wave scene. The record was produced by Konrad Becker and remastered in 2012 by Amann Studios. Members include: Erich Allinger (keys); Michael Andersch (vocals); Thomas Guth (bass); Franz Heuschneider (bass, guitar); Walter Leinweber (guitar, vocals); Wolfgang Leinweber (drums)." -Cien Fuegos.

"Damon. This is the artistic name of David Del Conte, a genius American gypsy musician who is responsible for probably the rarest and most sought-after psychedelic music album of all time. Were talking about his debut album, Song of a Gypsy, which was originally released in 1969. This album has a totally unique sound, with the crooner-like voice of Damon, the omnipresent melodic fuzz guitar of Charlie Carey and truly atmospheric melodies. Guerseen is very proud to be able to re-release Song of a Gypsy on vinyl format. This will come with the rarer gatefold cover (there were two original pressings, one in single cover and one in gatefold, with different artwork). This fabulous vinyl production comes with an extra 33rpm EP including the four tracks that were released on their two bloody rare singles, including an insert with photos and liner-notes, making this a very special release if all previous things werent enough." - Guerssen.

"Damon. This is the artistic name of David Del Conte, a genius American gypsy musician who is responsible for probably the rarest and most sought-after psychedelic music album of all time. Were talking about his debut album, Song Of A Gypsy, which was originally released in 1969. This album has a totally unique sound, with the crooner-like voice of Damon, the omnipresent melodic fuzz guitar of Charlie Carey and truly atmospheric melodies. Vernon Joynson, on his latest Fuzz Acid & Flowers book, says about this album: If there really is such a thing as psychedelic music, this is surely it. The Damon album is an essential purchase. This is a new CD version of the album. Reproduction of the original first pressing, in textured carton and golden graved lettering, gatefold cover with brief liners in the inside." - Xenos.

"Deluxe reissue of the legendary late 60s Los Angeles psychedelic masterpiece: restored/remastered transfer, pitch/speed corrected for the first time ever. Contains second disc: the entirety of Damons 60s recordings, and never-before-heard demos. Extensive booklet contains dozens of unpublished photos and images, a thorough investigation into this landmark album, and an extensive interview with Damon. Damons Song of a Gypsy is generally regarded as one of the finest privately-pressed psychedelic rock records and has, for over twenty years, been one of the most sought after late 60s American rock artifacts in the world, with the scant original copies that exist exchanging hands for thousands of dollars. Song of a Gypsy has remained high on its own plateau: out of reach and indescribable. It seemed that this homespun, funky psychedelic monument borrowed from nothing and sprung from nowhere. Damons unique, introspective songwriting and nuanced voice, the interplay between he and lead guitarist Charlie Carey and an atmosphere that so perfectly captured the last bloom of the flower power era as it decayed into the dark haze of the 70s underground could only have arisen from a spark of auspicious genius. But did it? Over the past seven years, we at Now-Again have been obsessed with Song of a Gypsy and have researched the album, and Damons life-arch. This anthology is our attempt to put forth a convincing argument for the overwhelming importance of this album, a unique high point from within but also outside of Americas psychedelic movement. We follow Damon on his predestined life as a gypsy from his birth into a tight knit Italian American family in Rochester, New York, through the various Los Angeles communities that he would call home. We compile, and analyze the entirety of his oeuvre, from his first surf-rock single in 1960, through schmaltzy pop, convincing doo-wop, blued eyed soul and garage rock in the mid 60s. And we focus on the year 1967, the founding of his label Ankh, and his transformation from a pop hopeful to the tortured soul who would create Song of a Gypsy. To that end, weve uncovered demo recordings and acetates that show an artist in transition, and we attempt to make sense of the seminal moments that made this transformation possible in a crucial moment in Americas psychedelic high water mark." - Now-Again.

"Deluxe reissue of the legendary late 60s Los Angeles psychedelic masterpiece: restored/remastered transfer, pitch/speed corrected for the first time ever. Contains second disc: the entirety of Damons 60s recordings, and never-before-heard demos. Extensive booklet contains dozens of unpublished photos and images, a thorough investigation into this landmark album, and an extensive interview with Damon. Damons Song of a Gypsy is generally regarded as one of the finest privately-pressed psychedelic rock records and has, for over twenty years, been one of the most sought after late 60s American rock artifacts in the world, with the scant original copies that exist exchanging hands for thousands of dollars. Song of a Gypsy has remained high on its own plateau: out of reach and indescribable. It seemed that this homespun, funky psychedelic monument borrowed from nothing and sprung from nowhere. Damons unique, introspective songwriting and nuanced voice, the interplay between he and lead guitarist Charlie Carey and an atmosphere that so perfectly captured the last bloom of the flower power era as it decayed into the dark haze of the 70s underground could only have arisen from a spark of auspicious genius. But did it? Over the past seven years, we at Now-Again have been obsessed with Song of a Gypsy and have researched the album, and Damons life-arch. This anthology is our attempt to put forth a convincing argument for the overwhelming importance of this album, a unique high point from within but also outside of Americas psychedelic movement. We follow Damon on his predestined life as a gypsy from his birth into a tight knit Italian American family in Rochester, New York, through the various Los Angeles communities that he would call home. We compile, and analyze the entirety of his oeuvre, from his first surf-rock single in 1960, through schmaltzy pop, convincing doo-wop, blued eyed soul and garage rock in the mid 60s. And we focus on the year 1967, the founding of his label Ankh, and his transformation from a pop hopeful to the tortured soul who would create Song of a Gypsy. To that end, weve uncovered demo recordings and acetates that show an artist in transition, and we attempt to make sense of the seminal moments that made this transformation possible in a crucial moment in Americas psychedelic high water mark." - Now-Again.

2017 repress. "Definitive reissue of the legendary late 60s Los Angeles psychedelic masterpiece: restored/remastered transfer, pitch/speed corrected for the first time ever. Extensive booklet contains dozens of unpublished photos and images, a thorough investigation into this landmark album, and an extensive interview with Damon. Damons Song of a Gypsy is generally regarded as one of the finest privately-pressed psychedelic rock records and has, for over twenty years, been one of the most sought after late 60s American rock artifacts in the world, with the scant original copies that exist exchanging hands for thousands of dollars. Song of a Gypsy has remained high on its own plateau: out of reach and indescribable. It seemed that this homespun, funky psychedelic monument borrowed from nothing and sprung from nowhere. Damons unique, introspective songwriting and nuanced voice, the interplay between he and lead guitarist Charlie Carey and an atmosphere that so perfectly captured the last bloom of the flower power era as it decayed into the dark haze of the 70s underground could only have arisen from a spark of auspicious genius. But did it? Over the past seven years, we at Now-Again have been obsessed with Song of a Gypsy and have researched the album, and Damons life-arch. This anthology is our attempt to put forth a convincing argument for the overwhelming importance of this album, a unique high point from within but also outside of Americas psychedelic movement. We follow Damon on his predestined life as a gypsy from his birth into a tight knit Italian American family in Rochester, New York, through the various Los Angeles communities that he would call home. We analyze the entirety of his oeuvre, from his first surf-rock single in 1960, through schmaltzy pop, convincing doo-wop, blued eyed soul and garage rock in the mid 60s. And we focus on the year 1967, the founding of his label Ankh, and his transformation from a pop hopeful to the tortured soul who would create Song of a Gypsy. We attempt to make sense of the seminal moments that made this transformation possible in a crucial moment in Americas psychedelic high water mark in this, the definitive reissue of this album." - Now-Again.

"A year in the making, The Earth Is Blue is Damon Krukowski and Naomi Yangs most intimate and accomplished record to date. Delicate harmonies and intricate melodic lines dominate the albums ten tracks, all of which were recorded in the duos home studio. Michio Kurihara flew in from Japan, where he provides the guitar playing for the genius psych-folk of Ghost, and added another layer of inspiration to the songs. Also contributing are trumpeter Greg Kelley and soprano saxophonist Bhob Rainey of Bostons nmperign. Along with eight original songs, the group beautifully interprets While My Guitar Gently Weeps by George Harrison and Araca Azul by Caetano Veloso. The Earth Is Blue marks the first release on Damon & Naomis record label, 20/20/20." - 20/20/20.

“This “bootleg edition” was rediscovered amid tapes salvaged from the studio of Galaxie 500 producer Kramer. It is Damon & Naomis 1995 debut for Sub Pop as Kramer originally conceived it – different mixes, sequence, and with the otherwise unreleased “Round and Round”.” - 20|20|20.

"A siren call from a leviathan crouched in the deepest trench in all the seven seas; the volcanic rumble of plate tectonics shifting miles beneath; a desperate churning in the gut. The massive, jagged chords unleashed in the opening moments of “Liquid Lunch” serve to set nerves on edge. Then, a shredded, springing sound jangles the senses like a Bernard Herrmann string stab, and we
have now full-stepped into the paranoid yet seductive world of The Dance Asthmatics.
Hailing from Christchurch, New Zealand, The Dance Asthmatics emerged from the womb a few years ago as a PiL-worshipping dub-punk aggregate unlike anything else on their native isle. In fact, New Zealand hasnt seen this much menace and casual aggression in a band
since The Gordons stalked the earth. Comparisons can also be drawn to such demented precursors as Killing
Joke, Butthole Surfers, and Terminal Cheesecake. But ultimately, The Dance Asthmatics have carved a unique
identity out of their countrys bedrock. And theyve fashioned a fortress from which they can let loose volleys of devastating power. The Dance Asthmatics are frightening and thrilling in equal measure, and New York Citys Ever/Never Records has graced us with
their vinyl debut -- a 5-song 12” called Lifetime Of Secretion. Its a bruiser.
Side one of Lifetime Of Secretion is, quite frankly, one of the finest stretches of music that you will hear this
year. Joining the towering “Liquid Lunch” is “PG” -- as close to a hit as modern death-rock is going to get. “PG” is all coiled intensity as needling guitar lines slipstream into
tendrils of melody while the rhythm section locks into an airtight groove. Singer Human #22 achieves his most sinister tone -- insults and come-ons tumble out the side of his mouth, enhancing delusion and dispensing illusion. Delay is used masterfully here as all
manner of slicing and decaying sounds hover in the periphery, like hummingbirds with razorblade wings. (Somewhere, Adrian Sherwood is smiling.) And yet, within this maelstrom, The Dance Asthmatics manage
to execute a perfect, nearly Brit-pop chorus that the Stone Roses would be chuffed to have written. This is major-league sleight-of-sound and the world needs to
hear it. Side Two comes crashing in with the vicious “Linoleum,” and the band proceeds to demolish all four walls of the room simultaneously. The track ends with
such nasty resolve, its like you and the band have just survived a fistfight together. On “Oedipus,” Human #22 narrates a twisted tale as the band pursues a sort of subdued dub, but one that is still simmering with tension. Closing out this electrifying debut, the
shimmering hall of mirrors that is “Wicker” beckons to Coil and crystallizes the aggression and abrasiveness preceding it. The Dance Asthmatics have a thousand paths to follow -- each of which is worthy, and you can
count on them to lead the way." - Ever/Never.
Lifetime Of Secretion by The Dance Asthmatics

"... There are punk records, and there are punk records. Then there are those vinyl artifacts that people like Tesco Vee and Ryan Richardson have described as sacred objects outside of time and place. . . . Like Horizontal Action by The Psycho Surgeons (1978), To Find Out by The Keggs (1967) or Agitated by The Electric Eels (1978), this record is a work of art so pure, powerful, fucked up, crazed wild and sublime that I get that same electrical charge from the experience that I get from Jackson Pollock or Charley Patton..." --Johan Kugelberg

"Deluxe reissue of this totally unknown New England teenage folk private press from 1971. Originally released by the artist herself as a demo only blank cover edition of 100 copies. Just out of high school and hoping somebody might pay attention, the LP slipped through the cracks, the chapter closed, and life moved forward on a different course. But the album left behind stands as a true female loner folk gem, of which there arent many at all. Just Ellies humbly intimate vocals and her harp-like self taught finger-picked guitar playing, plus some lovely pastoral flute by a friend on a handful of tracks. The sounds are straight from the tuned-in melancholy teenage mind, reeling from the mind expansion of the 60s, but also the excesses. Deeply reflective, poetic and searching lyrics of love/nature/peace playing out in real time against stark reality/longing /loss, and balanced at the very edge of the void. The aching innocence of youth tempered by a biting contempt for all things false. In the liner notes Ellie mentions only practicing under a blanket, and theres an up-close, lo-fi, almost voyeuristic realism/fragility here thats quite special. A complex and personal trip that takes some time and attention to fully unfold. Once it does, it will be no surprise that Ellie went on to build geodesic domes and become a professional midwife, as that same unique spirit is already deeply embedded here. A really wonderful album were happy to help finally reach some receptive ears. The original had no cover art, so weve kept the packaging suitably stark and mysterious, yet quite exquisite: each heavyweight vintage style cover is individually hand-bound in leather textured art paper, with the only graphics being a mounted 5x7 inch black and white photo print portrait of Ellie from 1970. Pressed on 180 gram virgin vinyl, with exact reproduction labels and a thick insert with new liner notes by Ellie, plus more vintage photos. Edition of 300 copies, in two cover color/texture variations (black or burgundy)." -Time-Lag.

"Chapter Music is proud to resurrect from undeserved obscurity the scratchy beatnik art-punk stylings of early-80s San Francisco trio Danny & The Parkins Sisters. Surrounded by the classic SF punk sounds of the Dead Kennedys, Pink Section, Flipper and the like, Danny & the Parkins Sisters opted instead to head in a very different direction. Brash Arizona transplant Danny Vinik and chic, alluring sisters Debra and Beverly Parkins strummed on detuned guitars, banged on whatever was close at hand, and declaimed hilarious, incisive lyrics dissecting the scenes and tribes around them in visceral early-80s San Francisco. Their high-performance shows played out in legendary venues such as the Sound Of Music and Club Generic, with guests including Dead Kennedys drummer DH Peligro. In 1982, the band released an 8-song mini-album on the Modern Masters label, run by Richard Kelly of the cabaret collective Club Foot Orchestra. It included the all-time shoulda-beena classic, "War (Is On Your Doorstep)," a pounding, tribal punk-chant that sums up all the paranoia and posturing of the post-punk era. By 1983, the band were over, with Danny heading to South America and the Parkins sisters to New York, but their brief SF moment shone with a peculiar, musically naive but still knowing charm. Fans of angular post-punk luminaries like the Bush Tetras, The Raincoats or Y Pants will love this CD, which comes filled with bonus demo, live and rehearsal recordings." -Chapter

"Dark Entries digs deep into the UK Goth underground to unearth The Danse Society “Demos Vol. 1.” The band formed in Barnsley, England in 1980 from the remnants of local post-punk bands Y? and Lips-X. Between 1980 and 1982 the band released a handful of 7” and 12” EPs and the debut album “Seduction” on their own independent label, Society Records. The band also recorded several sessions for Radio 1, including a John Peel session, and topped the Independent Charts with the single “Somewhere.” Their commercial debut, “Heaven Is Waiting” was released in February 1984. They released two further singles and the album “Looking Through” before breaking up in 1986. After 24 years three original band members reunited to record the new album “Change of Skin,” released in July 2011.
1983 was The Danse Societys year. Playing sold out tours and the success of “Seduction” won them a recording contract with Arista Records. Spending their advance on new equipment the band recorded an albums worth of demos in one day at Greenhouse Studios, London in May 1983. The line-up for this session was Steve Rawlings (vocals), Paul Nash (guitar), Lyndon Scarfe (keyboards), Tim Wright (bass) and Paul Gilmartin (drums). Doom laden guitar riffs, swirling synthesizers, crushing drums, driving and disembodied vocals, characterize the distinctive Society sound. “Demos Vol. 1” is the closest youll get to The Danse Society live experience. You can almost taste the dry ice, feel the power coming through the monitors, and become entranced by the strobe-induced madness this album embodies. The Danse Society operate in a raw, atmospheric realm less campy than many of their Goth Rock peers, unconcerned with pop charts or commercial appeal. These arent songs, they are commands.
This 11 track collection includes an early version of the single “Wake Up,” 5 demos that would make the cut for “Heaven Is Waiting,”3 songs that would later become B-sides and 2 unreleased instrumentals. All songs have been remastered from the original tapes for vinyl by George Horn at Fantasy Studios in Berkeley, CA. Each LP includes a fold-out, double-sided newsprint poster with photos, lyrics and liner notes by original drummer Paul Gilmartin and music journalist Mick Mercer. 28 years later these demos capture a band at the height of their confident, powerful and haunting glory." -Dark Entries.

"How can we explain the power of music? How can songs delivered in a language that we dont understand move us so? This collection contains the very best songs from Hongthong Dao-udon, one of the great Thai singers of the "third generation" of Molam singers and one of the artists who succeeded in fusing Molam with Luk Thung, thus triggering a new generation of singers; in fact, she was the first to sing both genres from the beginning of her career, considering herself to be situated happily between the two styles. But none of this matters, finally, to the listener. This is music, not musicology, and Hongthong Dao-udon sings to us, not the pedants. Her career was brief, and these songs from the late 70s and early 80s are her very best, showcasing her rich vibrato, her masterful control, and the undeniable emotional power of her voice, and carrying us from joy and whimsy to melancholy and desolation. Produced mainly byDoi Inthanon, a legendary independent producer, these songs were very popular in Thailand, and it is easy to hear why, with strong melodies, impeccable swing, interesting arrangements, and, of course, Dao-udons thrilling voice. With two songs previously unavailable on CD, as well as her first recording and her biggest hits, this is essential. Includes 20-page booklet. Selection, liner notes, and cover art by Soi 48." - EM.

“LP version with insert. How can we explain the power of music? How can songs delivered in a language that we dont understand move us so? This collection contains the very best songs from Hongthong Dao-udon, one of the great Thai singers of the "third generation" of Molam singers and one of the artists who succeeded in fusing Molam with Luk Thung, thus triggering a new generation of singers; in fact, she was the first to sing both genres from the beginning of her career, considering herself to be situated happily between the two styles. But none of this matters, finally, to the listener. This is music, not musicology, and Hongthong Dao-udon sings to us, not the pedants. Her career was brief, and these songs from the late 70s and early 80s are her very best, showcasing her rich vibrato, her masterful control, and the undeniable emotional power of her voice, and carrying us from joy and whimsy to melancholy and desolation. Produced mainly by Doi Inthanon, a legendary independent producer, these songs were very popular in Thailand, and it is easy to hear why, with strong melodies, impeccable swing, interesting arrangements, and, of course, Dao-udons thrilling voice.” - EM.

"Detroit/NYC guitarist, singer, songwriter, photographer, filmmaker, artist Dara was a member of His Name Is Alive for a few years. She was part of upstate NY based multi media performance art group Brown Cuts Neighbors doing films, playing drums, guitar, bass, vocals, keyboards, and guerilla street performance. She collaborated through the mail w/ Warren Defever on a project called Nu Grape. They have a CD available though Time Stereo. She had a group w/ Ron Asheton called Creature79. She worked w/ artist Steve Cerio on a project called Lettuce Little featuring members of the Residents. She now performs with husband Nick in a duo they call Laudanum. Her influences/interests range from Japanese noise bands/performers such as Masonna and Melt Bananna, jazz of Albert Ayler, Cecil Taylor, Sun Ra, Coltrane. The Stooges, Neil Young, 80s hardcore bands, New wave, Harry Partch, artwork of Jackson Pollack. Hammer horror flicks. Film Noir. Spooky stuff. William Blake, William S Burroughs, Bukowski, Nietzche, Kathy Acker, Nick Cave, Lydia Lunch, Slayer. The Ecstatic Peace record: All of it is Dara playing vintage Farfisa keyboards, Casio keyboards, guitar, radio. Recorded in Daras kitchen in 1997 on 4 trk. All artwork/photography by Dara. Album was heavily influenced by love of 80s synth pop and heartbreak. Like OMD, Depeche Mode and John Hughes films which she loved as an 80s teenager." - Ecstatic Peace.

"Dara Puspita (trans. "Flower Girls") was arguably the worlds greatest all-female garage rock band. The reason youve probably never heard of them was that they came from Indonesia where they were extremely popular during the 1960s. Their career spanned from 1965 until 1973 including 3 years (1969-1971) living and touring in Europe. The four albums recorded by the original members between 1966 and 1968 (the material represented on this CD) is one of the great chapters of 1960s popular music history never to be reissued, let alone recognized beyond a few tuned-in souls and adventurous record collectors in the Western world. Twenty-six of their most spectacular tracks (from the albums Jang Pertama, Special Edition, Green Green Grass, and A-Go-Go) are now finally available to hear in this essential release. Dara Puspita formed in their hometown of Surabaya in 1964. After relocating to Jakarta, the group began to create quite a stir with their wild stage shows. Their local performances were attended by teenagers grooving to the bands raw garage rock sound. The first all-female Indonesian pop group that could play their instruments and sing, Dara Puspita also attracted the attention of Indonesian president Sukarno who labeled Western rock music "a form of mental disease." In 1965 (an eventful and critical year for the group), the girls endured a month-long interrogation by the government for performing "outlawed" rock and roll music, became the house band in a Bangkok nightclub for three months, and were introduced to Dick Tamimi of Mesra records, the man who would launch their recording career. The tracks featured on this compilation were recorded at the height of Dara Puspitas popularity during the immediate post-Communist era of General Suhartos new order; a time when Indonesias musicians and artists were finally capable of launching their own creative renaissance. This collection is guaranteed to appeal to all fans of the beat a-go-go era of the mid-late 1960s and is a significant missing piece of the global pop music history puzzle. Every single track is a classic, the sound quality is superb, and it should only take one listen to become completely addicted to and charmed by this legendary Indonesian group. Tri-fold digipack CD with 20-page booklet featuring rare & unseen photos provided by Dara Puspita for this specific reissue project and extensive liner notes of the bands phenomenal history by Alan Bishop." -Sublime Frequencies

"Dara Puspita (trans. Flower Girls) was arguably the worlds greatest all-female garage rock band. The reason youve probably never heard of them is that they came from Indonesia where they were extremely popular during the 1960s. Their career spanned from 1965 until 1973 including 3 years (1969-1971) living and touring in Europe. The four albums recorded by the original members between 1966 and 1968 (the material represented on this LP) is one of the great chapters of 1960s popular music history never to be reissued in vinyl, let alone recognized beyond a few tuned-in souls and adventurous record collectors in the Western world. This is an amazing compilation for all garage rockers, fuelled with fuzz tunes and groovy rhythms. Includes an insert with rare photos and extensive notes by Alan Bishop." -Groovie

"Kye is pleased to announce the release of Crete Soundies, the major new work by Moniek Darge, and the follow-up to last years Soundies (1980-2001) CD. Crete Soundies presents three new pieces -- Magnesia (2006), Anemos (2007) and East Crete (2008-2009). These works were born from two years of Levka Ori sound research, and an additional year in east Crete in collaboration with fellow sound artist Francoise Vanhecke. Moniek Darge was born in Bruges, 1952 and studied music theory and violin at the Music Conservatory of Bruges, painting at the Ghent Royal Academy of Fine Arts; Art History, Philosophy and Anthropology at the University of Ghent, Belgium. She is active as composer, violinist, performer and audio artist and has built light and soundsculptures, installations, musical instruments and for many years has been constructing a series of alternative music boxes, with which she also performs. Darge has specialised in both soundscapes and live-art performances in which visual and musical aspects are combined and in interactional improvisation on violin. Since 1970 she has performed around the world and has been active on stage, first with the Logos Ensemble, then with Logos Duo (together with Godfired-Willem Raes), and more recently with the M&M robot ensemble. She also founded Logos Women, a small group specialised in intermedia improvisations performing their own compositions for various instruments, voices and music boxes. Crete Soundies comes housed in 6-panel digipak, in an edition of 500, and is released with the support of the Flemish Government." - KYE.

"Kye is proud to announce the release of Scared Balinese Soundies, Mauros Song, the third installment in Moniek Darges travelog Soundies series following on from Crete Soundies (2010) and Indian Soundies (2014). Mauros Song is dedicated to the boy child, whos journey in this world lasted only three years, and was so short he learned just one song -Mauros Song - to be sung amidst the sounds of the universe. Mauros journey can be likened to the life span of a single day, from dawn to sunset, with its meditative qualities seducing the listener into perfect sleep." (Moniek Darge). Sacred Balinese Soundies, Mauros Song arrives in a full color high gloss 6-panel digipak in an edition of 300 copies." - Kye.

"Moniek Darge has been active as a composer, violinist, performer and audio artist since the early 70s. She is most widely recognized as one half of the pioneering new music group Logos Duo alongside her partner Godfried-Willem Raes. The Logos Duo, which operates under the umbrella of the Logos Foundation, have been celebrated both at home in their native Gent, Belgium and on the international stage. They have performed their work in countries as diverse as Brazil, New Zealand, Japan and the US. However, Monieks solo work has been harder to locate, the last published collection being Sounds of Sacred Places (Igloo Records, 1987). Soundies is the first in a series of releases from Kye that aims to bring Monieks solo material before a wider audience. Soundies contains the following work: Sand (1980) -for two percussionists with tape (electronics) and one participant from the audience / Stormfugle (1981) -for two performers, voice, tape (electronics and voice), slides, film, clarinet and violin / Fairy Tale (1983) -for vocals, violin and tape (koala sounds and dog-growling) / Harpje (1995) -for harp samples and performance / Caete (1997) -for soundscapes, live musical objects and duo / Verbondenheid (1999) -for voices, Turkish turtle and live musicians / Turning Wheel (2001) -for voice, live violin and soundscape. Comes in an attractive 4-panel digipak graced with original art by Moniek." -- KYE.

"New 2011 edition of this cornerstone sound art collection, originally published in 1987 on LP by Igloo. "In most ethnic cultures, sacred places serve an important social function. The qualities, typical of these places, explain to western people the magic magnetism of these "holy grounds". During our international Logos Duo concert tours we have had the opportunity to visit quite a few of these places. Uluru, the "Shadowgiving Mountain" of the Aborigines, better known under its western name of Ayers Rock (Australia), impressed us more than any other. The presence of water and an enormous monolith in the midst of the vast desert plain is given as an explanation for its magical appeal. But to the Aborigines, each little place of the rock contains tracks of their ancestors, the "Dreamtime People", who live in this mountain and speak to them in the sounds of the winds howling through the crevasses and rockholes. Uluru is also the dwelling-place of the "World Serpent", the most powerful totem shared by the surrounding tribes. Sounds of Sacred Places attempts to transform the listener into a living witness of the sounds of similar places, not far away in any specific ethnic culture, but in Flanders". (Moniek Darge, 1987). Sounds of Sacred Places arrives in a high gloss 4-panel digipak with accompanying 16 page booklet of photos and notes. Remastered from the original tapes by Moniek Darge at the Logos Foundation, Gent. Edition of 500." - KYE.

"Kye and Penultimate Press are very proud to present a collaborative release from Moniek Darge (Belgium) and Graham Lambkin (UK).
"I have always been interested in sounds in general. When reading and teaching about the futurists, I fully agreed that the sound of engines and machines could be as interesting as the sound produced by musical instruments. But not only industrial sounds fascinate me - I also find the sounds of nature very inspiring.
What I love to do is make soundscapes, and I try to give an impression of a certain space. I am fascinated by a lot of so-called sacred places in the world, in etnic cultures, but also in our own cities. I try to recall the atmosphere of such a place, the quietness, the subtile sounds, or simply whats happening. I started with places in Ghent, where I live, and little by little – I have always loved to travel – I began to think - hé, it would be nice to do the same thing at different places on earth. So I started to go to different countries with the purpose of making soundscapes. With our Logos Duo, ever since 1980, I was already travelling around the world to give concerts, and thus I already collected sounds from all continents.
Lately Ive been traveling to India and recording the sounds typical in certain regions. You will hear sounds of traffic, of religious ceremonies, of commercial music, mixed with merchants voices, nature sounds. I asked my friend Graham Lambkin to join me in the creation of these Indian soundscapes. We had previously performed Tamil Nadu and an early version of Indian Weather Trap together in concert at Issue Project Room, NYC, 2011 alongside our friend Françoise Vanhecke. I further invited Graham to make his own Indian soundscape in his own style, using materials gathered online, to bring our CD to a close. So just sit back quietly and enjoy. Lets all travel together on the wings of sound." - Moniek Darge.
Indian Soundies arrives in a deluxe full-color 6 panel digipack, in a limited edition of 400 copies." - Kye. Co-released with Penultimate Press.

"500 press on black vinyl with insert. For the first time on vinyl legends of the early 70s UK psych monsters Dark return with a killer second offering. Many of the songs were written in the way back, some of them more recent but all Dark!" - Void.

"One of THEE greatest guitar-heavy psych records in the world, Dark Round the Edges was originally issued in an edition of around 50 copies, mostly for friends, family, and the odd record company. Its reputation has since blossomed into something resembling a redwood, or perhaps an original Van Gogh. This album is the holy grail for lovers of fuzz-driven hard rock, and has been the most sought-after privately pressed LP on the planet. Weve spared no expense to bring you the deluxe reissue of this classic, an album beloved by heads & cosmic couriers around the world for its great songwriting, terrific instrumental workouts, and mysterious vibe." Officially licensed by DARK, who will receive royalties from sales of this album. Remastered and restored by WARREN DEFEVER for maximum brilliance. Sleeve notes by the groups songwriter and guitarist STEVE GILES, including a complete group history. LP sleeved in a tip-on gatefold jacket, with an expanded version of the original LP booklet-20 pages of lyrics and never before seen photos from the groups personal archives." -Machu Picchu.

"Dark Dark Dark is a four-piece, baroque-gypsy band (originally based out of Minneapolis) who have in recent months called New York City, France, New Orleans, and a raft on the river "home." They are led by Marshall LaCount on banjo and Nona Marie Invie on accordion, and are backed by Todd Chandler on upright bass and Jonathan Kaiser on cello. All four members sing. Their haunting, dreamy and dark Eastern European-inflected music is informed by influences drawing from the cabaret and folk traditions. The five songs presented here (four originals plus an enchanting "Wayfaring Stranger") reveal the intimate sound of Dark Dark Dark at home, each with its own take on loss and loneliness. The group draws heavily from, in their own words, the "long tradition of wandering musicians and those who have lived deeply." Printed jackets are derived from photos of one of 32 branded, white leather covers designed by installation artist and sculptor Jay Heikes." -Neros Neptune

"Performance artist Robin Crutchfield moved to New York City in the mid-1970s to participate in the growing Soho and Tribeca art scene. After some critical success, he crossed over into music co-founding the experimental No Wave noise band DNA, which recorded tracks for the No New York album with Brian Eno. After a year with DNA, he departed to form his own musical project, DARK DAY, with an array of various guest performers including Steven Brown of Tuxedomoon, filmmaker Jim Jarmusch, Nina Canal from Ut, and others. He continued on alone releasing a number of albums in styles ranging from cold wave, to medieval pagan, to quirky electronica." - Nigh Eve. Re: Darkest Before Dawn - "Medieval Pagan processionals, dirges and dances for
the 21st century on pipe organ, rattles, bells and
drums (with cello). For fans of Moondog, Penguin Cafe Orchestra and Dead Can Dance." Original 1989 CD release in an edition of 300, still in plastic longbox (!).

"Dark Entries is working in reverse order to re-issue Dark Day’s first album “Exterminating Angel” originally released in 1980 onLust/Unlust. Dark Day is the minimal electronics brainchild of Robin Crutchfield following his separation with no wave band DNA. Growing up in rural Pennsylvania, Crutchfield was fascinated with both performance art and the most esoteric edges of pop music. After making his escape to New York City in the mid-seventies, he was inspired by Yoko Ono’s Plastic Ono Band and Lydia Lunch’s Teenage Jesus & The Jerks. He made the transition into the new music of downtown Manhattan and formed the “no wave” band DNAwith Arto Lindsay and Ikue Mori in 1977. In 1979 Crutchfield left DNA to pursue a series of musical projects under the name Dark Day. His first album, “Exterminating Angel” is named after the Luis Bunuel film of the same name. On this album the band is Robin on synthesizers and vocals, Phil Kline on guitar/bass, Barry Friar on drums and guest Steven Brown of Tuxedomoon on saxophone. All 13 songs on “Exterminating Angel” use cheap synthesizers to create cyclical, machine-like keyboard riffs as a foundation for the moody, Teutonic music. Crutchfield sings like a lost member of Kraftwerk with a dry detachment creating a starker and chillier atmosphere. Lyrics were derived from cut-up methods similar to those used by the surrealists, fluxus artists, and William Burroughs and Bryon Gysin and pit the subjected against their torments and tormentors. All songs on “Exterminating Angel” were originally recorded at Sorcerer Sound, NYC. 1979 and produced by Charles Ball. This re-issue has been remastered for vinyl by George Horn at Fantasy Studios in Berkeley, CA. Each LP includes a two-sided fold out poster containing lyrics, photos and lyrical explanations by Robin Crutchfield. Dark Day continue to inspire the current wave of stark, eerie, processional synthesizer music more than 30 years later." -Dark Entries.

"Dark Entries continues to work in reverse chronological order to reissue DARK DAYs debut single "Hands In the Dark." Dark Day is the minimal electronics brainchild of ROBIN CRUTCHFIELD following his separation with no wave band DNA. For the first incarnation of Dark Day, Robin recruited NINA CANAL from The GYNECOLOGISTS and later UT on guitar and NANCY ARLEN from Mars on drums. They recorded two songs for a 7" single, released in 1979 on Charles Balls Lust/Unlust label. Off-kilter jerk-like guitar and energetic acrobatic tom-tom tumbling fuse with queasy lurching keyboards and "cold medicine" vocals. This single stepped away from no wave towards what was going on in the UK with The Normal, Robert Rental and Throbbing Gristle. After this single Dark Day would regroup with Robin on synthesizers and vocals, PHIL KLINE on guitar, BARRY FRIAR on drums and guest STEVEN BROWN of TUXEDOMOON on saxophone to record the Exterminating Angel album. In 1981, the song "Trapped" was released as a 12" EP backed with "The Exterminations (1 Thru 6)." For these six instrumental tracks, Robin went back into the studio with the master tapes, flipped them over and played them backwards. Altering track assignments, speed and reverb effects, he rode the faders in and out, creating short "exterminations" of the original songs. The result is Crutchfields favorite Dark Day release. Each LP includes a double sided 11"x17" fold-out poster with lyrics and photos and song notes by Robin and Nina Canal." - Dark Entries.

"Performance artist Robin Crutchfield moved to New York City in the mid-1970s to participate in the growing Soho and Tribeca art scene. After some critical success, he crossed over into music co-founding the experimental No Wave noise band DNA, which recorded tracks for the No New York album with Brian Eno. After a year with DNA, he departed to form his own musical project, DARK DAY, with an array of various guest performers including Steven Brown of Tuxedomoon, filmmaker Jim Jarmusch, Nina Canal from Ut, and others. He continued on alone releasing a number of albums in styles ranging from cold wave, to medieval pagan, to quirky electronica." - Nigh Eve. Re; Strange Clockwork - "20 cog-like, cyclic instrumental tracks with layers of
melody and percussive rhythm on unusual-sounding
instruments with a comicly sinister edge. Think Philip
Glass meets The Addams Family." 2003 release.

"Following the first few incarnations and various lineups of r.l. crutchfields Dark Day, 1981 saw the direction of the project morphed into an electronic keyboard duo of Robin Crutchfield and Bill Sack with an album of nine songs released on Plexus Records. Lyrics were inspired by various sources including occult texts by Colin Wilson and art by Leger, Bruegel, Malevich, Man Ray, Duchamp and Jean Cocteau. The mechanized sound of Window is less one of the man machine robots in charge of Kraftwerk than man at the mercy of his machines. Carefully remastered by George Horn at Fantasy Studios in Berkeley and limited to 500 hand-numbered copies. This re-issue also includes a 24-page newsprint zine Darker Days As I Recall Them by Robin Crutchfield with silk screened cardstock jackets and an 8x11 lyrics sheet with song meanings!" - Dark Entries.

Hand-made silk-screen printed sleeve w/ insert,limited to 320 numbered copies. "DARK LIKE A RESTAURANT grew out of a number of experimental bands working in the Dallas, Texas area in 1979-80. In the wake of the Sex Pistols show at the Bronco Bowl (1978), an entire scene grew up in Dallas that was part punk, part proto-new wave. One of these bands was BOYS LIFE, which contained two of the three members of the later Dark Like a Restaurant (only Roland TR808 was not in Boys Life). Rex Koontz played guitar and sang. Boys Life was fronted by Jaime Lagarella (keyboards and voice), later an important producer and engineer; Bob Green (bass, later of The Grassy Knoll), and Jeff Zilm (drums, currently a painter and previously of the Comateens). Boys Life never recorded but played several important shows at the premier Dallas experimental showcase the Hot Klub. After Boys Life disbanded without a recording, Dark Like a Restaurant formed to showcase Koontz’s stripped synth and guitar sound and his increasing obsession with the hypnotic rhythms of the then new Roland TR808 drum machine. The combination of minimal synth foundations and a floating, haunting guitar sound served as the calling card for the band." - Rex Koontz.
DARK LIKE A RESTAURANT - " SIGHT " 2012 REF.DOM04-M by Dark Like A Restaurant

"The latest from Dark Sunny Land, Emanations for a Returning, will be available from One Hand Records hq in August. Over the last decade Bostons Steve Painter, under various monikers, has quietly released a number of killer CDs on Gulcher that seemed to earn him high praise from the handful who heard them. Most enthusiastically touted by the great, long-running zine turned blog, Black to Comm, check out the fine interview with Steve Painter that appeared there.
Emanations is four tracks of Painters uneasy, claustrophobic feedback and drone that are reminiscent of trailblazers Kluster and Taj Mahal Travelers. Painter calls his music “cranky ambient.” Recorded in the shadows of Fenway Park, this is an excellent late-night comedown listen. Emanations is the first Dark Sunny Land release to appear on vinyl.
Silk screened covers. Edition of 150 copies." - One Hand.

"Do try and search out the delightful and highly useful EMANATIONS FOR A RETURNING by Bostons Dark Sunny Land. Released on One Hand Records, this limited vinyl edition shakes and sparkles with that same shimmer as Japanese Gagaku ceremonies, all Timeless and Hazy and Almost and Nearly. Its probably those singing bowls that throw time off so, or perhaps the household objects, or maybe even the subtly rendered Theremin. Indeed, Im loathe to compare this vinyl LP with anything too specific, for it is entirely itself. Yes, the music of Dark Sunny Land occupies mostly a peculiar heat haze hinterland, a semi-permanent perch that always appears to threaten a massive increase in volume, but never does. But EMANATIONS FOR A RETURNING is a fine LP housed in a delightful art sleeve, and it dont half endlessly repeat well, Motherfuckers." - Julian Cope.

“Bostons great loner cosmic tones pusher turns in 4 new tracks of his signature drift. This is beautiful, melt-into-your-couch stuff. Dark Sunny Land is Steve Painters 3rd album as DSL, and continues his pursuit of the sound from a yet to be discovered planet. Painter cites Sun Ra, Kluster, and Basinski as influences, and you hear them all here, but at this point--Painter is now a sexagenarian--he has developed a sound that is unmistakably his own. The albums closer, "Kangaroo Daydream," is the most gorgeous piece he has produced yet. It finishes too soon, not so much ending as vaporizing and ascending into the stratosphere.” - One Hand.

Hand numbered edition of 150 copies.

"First biggo surprise of 15s this new longplayer courtesy the mostly-MIA for 14 Stephen Painter a.k.a. Dark Sunny Land. Hes back with that ol proverbial vengeance on this un which thankfully continues on the spacial avant musical sounds of the past which in many ways are the logical extension of what all this rock n roll was heading in the first place. From K/Cluster-esque cranks to warm encapsulating sound that you can burrow yourself into, DARK SUNNY LAND weaves itself into your very own nerve-endings with a music that, once you spin the thing repeatedly for a few hours, makes you wanna stand up and holler that this was made for you and you alone! And in some ways you may be right Snuggle up with an old issue of CREEM while this un spins brightly throughout these Artic nights." --Chris Stigliano, Blog to Comm.

2010 release. Hand-numbered edition of 94. "in puddles of tape lays a bleeding Tom Darksmith. following a long nite in the back of the van, wasted, smashing his skull into a variety of cassette machines & six packs, obliterated but trying his damndest to channel what its like to be a family man. a depressing nite to say the least, he is left last man standing armed solely with vile claws and a mound of magnetic filth. a single, damaged dictating machne remains. at this point, as attempting to sift for a message of solace, everything went black. here are the results. a modern master of tape manipulation, w/ releases across HANSON RECORDS, CHONDRITIC SOUND, HERMITAGE TAPES, and his own niche hallmark, MOM COSTUME, not only is DARKSMITH a genius, but also one of the most-interesting experimental/improvisational musicians of our time. edition of 94 hand-numbered cassettes with original artwork from Tom Darksmith." - Nurse Etiquette.

"Metaphors contain cracks through which significance slips out. Occurrence without explanation, but with clear purpose and senseless resolve. Vitrine is beside itself with pride to announce the latest release by California tape artist Darksmith. Everyone Is Welcome In My Room sidesteps the trendiness, slickness and hothouse social backslapping which is de rigueur in the contemporary experimental underground. Tom Darksmith follows up an array of CDrs, including an impressive collaboration with Dylan Nyoukis on Chocolate Monk, with thirty minutes of consummate tape music - abstract in vision and deliberate in intent. Each side progresses with the illusion of motionlessness, allowing for wide chasms of broken sound to crackle alongside the hull of an enormous din. Darksmith belongs to a small handful of artists who cannot be tethered to a geographic aesthetic or a timely moment in sound. Instead, he draws from a deep reservoir of rusted electronics, detuned strings and sterling tape music to craft work which is both incredibly contemporary and of its own sounding. If anything, he becomes increasingly intriguing with each subsequent release. Darksmith does not so much interrogate the boundaries of a space as generate a science fictional topography via magnetic tape and electronics. Vitrine is honored to have the opportunity to share this new work by one of the best artists currently working in the form. Limited to 100 copies. Sold out at source." - Vitrine.

"First release from this KILLER new project. Tom Darksmith is from California and has been ruling my head. Great organic sound collage/Vaccuum cleaner shit.. Fans of Hands To, Yeast Culture, etc.. Need to wake up to this dude NOW... More tapes coming soon on Hanson as well. Keep ears PEELED OPEN." -Hanson.

"Debut vinyl from California sound artist Tom Darksmith. Crude musique concrète made using tapes, voice, records, radio, guitar, drums, objects, domestic and field recordings. Assembled on cassette four track 2008-2009. A disturbing collection of sounds...lots of sounds...unknown sounds...I have no clue what is going on on this record....Tom says there is guitar, drums, etc on this...but I dont hear them...what I hear is: The sound of my neighbor weedwacking, the sound of being zipped into a suitcase then shipped via train, ghost voices roaming in sewers, the sound of riding in a helicopter with mid-grade noise reduction earmuffs on, a shitty metal door being locked on a crew of mumbling idiots...and every now and again...a garbage disposal....this is what I hear....no clue what you will hear. A total mystery of perfectly paced organization of dirt sound...not harsh...not mellow...just dirty, weird, and confusing...and to quote the sleevenotes of the first few Queen LPs....No Synthesizers!. Recommended for fans of Yeast Culture, Agog, Joe Colley, Graham Lambkin, Jason Lescalleet, Hands To, etc... Limited to 300 copies with hand-stamped labels, heavy duty two color silkscreened sleeves with the classic Hanson Droll Flaps featuring hilariously dark artwork by the man himself, Tom Darksmith." - Hanson.

"CD reissue of debut vinyl from California sound artist Tom Darksmith. Crude musique concrète made using tapes, voice, records, radio, guitar, drums, objects, domestic and field recordings. Assembled on cassette four track 2008-2009. A disturbing collection of sounds...lots of sounds...unknown sounds...I have no clue what is going on on this record....Tom says there is guitar, drums, etc on this...but I dont hear them...what I hear is: The sound of my neighbor weedwacking, the sound of being zipped into a suitcase then shipped via train, ghost voices roaming in sewers, the sound of riding in a helicopter with mid-grade noise reduction earmuffs on, a shitty metal door being locked on a crew of mumbling idiots...and every now and again...a garbage disposal....this is what I hear....no clue what you will hear. A total mystery of perfectly paced organization of dirt sound...not harsh...not mellow...just dirty, weird, and confusing...and to quote the sleevenotes of the first few Queen LPs....No Synthesizers!. Recommended for fans of Yeast Culture, Agog, Joe Colley, Graham Lambkin, Jason Lescalleet, Hands To, etc." - Hanson.

Split release with Chocolate Monk. Hand-numbered edition of 60. “Two pieces each to unearth. Darksmith keeps the hiss and confusion to a maximum on "Jumbo on the Floor" & "Jumbo up the Stairs", while Nyoukis presents the walkman compositions "Midge down the Hole" & "Midge in the Gutter". Get digging deep, pal.” - Chocolate Monk.

"Shagrat Records is delighted to announce the release of a 3-track 10" EP by the short-lived Darrow Mosley Band, cut in 1973. The band was a vehicle for the prodigious talents of Bob Mosley (lead vocals, bass guitar) and Chris Darrow (lead vocals, guitar) -- Mosley had been an integral member of Moby Grape, one of the greatest California bands of the late 60s. Darrow had been a founding member of Kaleidoscope, the hugely talented Clairemont-based quintet that subsequently has been recognised as one of the first rock groups to play world music. In 1973 both Chris and Bob decided they wanted to be in a band again and their mutual manager Michael OConnor suggested they form a group together - drawing on the energy and style of vintage Stones and Faces and adding more than a dash of the prevalent SoCal country rock scene to the mix, Bob and Chris were joined by lead guitarist Frank Reckard (subsequently in Emmy Lou Harriss Band for 14 years), keyboard player Lroen Newkirk and drummer Johnny Craviott (Ry Cooder, Arlo Guthrie, Buffy St Marie) -- they cut 3 songs to try and get Warner Bros interested -- sadly Warners passed on the demos and they have remained unheard till now -- the A-side is a rocker featuring Darrow on lead vocals and was originally recorded on his eponymous second album done for UA. The flipside has Bob Mosley as lead vocalist -- a treat for all those who already know what a masterful singer this Norse god can be - first up is a soulful, smouldering version of the Temptations I Wish It Would Rain that also boasts some dexterous picking from Reckard. The EP closes with a new version of Bobs exquisite Beautiful Day originally done for the Grapes 69 record. The band split soon after but these recordings are an integral link in the chain that binds Moby Grape with Fine Wine and the Ducks (Neil Youngs legendary summer of 77 Santa Cruz bar band). Packaged in a beautifully mind-blowing sleeve by legendary British psychedelic designer John Hurford (IT, OZ, Dandelion Records etc) and featuring sleeve notes by Chris Darrow, this EP is an absolute must for fans of Kaleidoscope and Moby Grape everywhere. Strictly limited edition of 499 copies." - Shagrat.

"LP version with debossed jacket and printed innersleeve. Includes a CD of the full album, plus five bonus tracks. Already a veteran of several bands and scenes on the L.A. landscape, Chris was a founding member of the west coast Kaleidoscope. He went his own way after the recording of their second album, A Beacon from Mars, to pursue music on his own terms. Artist Proof, Chriss solo debut, is a rich and powerful dose of California country rock, written almost entirely by Chris and played with grit and precision by a cast of great players (whose resumes are too lengthy to include here, but pretty much all of them began with this record -- Chris had an ear for good young talent!) including Ed Black, Loren Newkirk, Arnie Moore, Mickey McGee, and John Ware. The turn of the west-coast rock scene toward country music was something no one man could create on his own -- Chris himself has been quoted as saying that the country-rock sound was created by bands, not individuals. This seems right; a coming together of young people testing out their formative influences in the light of a new day, creating something different in the process. The fresh feeling of Artist Proof is an evidence of this -- proof positive, in fact! Back in print for the first time in 40 years and finally ushered into the digital realm.. CD includes five bonus tracks." -Drag City.

"Minimal Wave presents a full length album by Dutch electro pioneer, Das Ding. Das Ding is Danny Bosten, who was active in the early 1980s releasing his music and friends music via his own cassette label called Tear Apart Tapes. While studying graphic design in art school, he designed all the tape covers himself. Meanwhile, he recorded his own music as Das Ding. Powerful dark electro, some tracks are quite addictive and danceable while others are more for at home listening enjoyment. The dancefloor killer is somewhere between Reassurance Ritual and H.S.T.A. The record features lovingly remastered tracks, is pressed on 180 gram vinyl and comes in a printed innersleeve featuring artwork by Danny Bosten, and heavyweight outer jacket with photographs by Dima Belush. Definitely one of this years favorites." - Minimal Wave.

"Minimal Wave is excited to present a 7" single of two early demos (Kindheitsmuster and Raid) by Dutch electronic music pioneer Das Ding. The final versions of these tracks were released on H.S.T.A. and the Missing Tapes, respectively. The versions here are the most raw and electric recordings we have heard by Das Ding yet. Danny Bosten formed Das Ding as a solo project in the early 1980s and released his music and friends music via his own cassette label called Tear Apart Tapes. At the time, he was studying graphic design at art school, and in turn he ended up designing the artwork, cassette-sleeves and illustrations for the label himself. Meanwhile, he recorded his own music as Das Ding. Powerful dark electro, he made several addictive and danceable tracks which later become Minimal Wave hits. Danny made all his music in his bedroom which essentially turned into a small recording studio. He went on to release many of his own tapes and also played some live gigs. Old tapes were uncovered around 2010, and Minimal Wave released a remastered version of H.S.T.A. and select other tracks. A wave of renewed interest followed the records release and soon people were in touch to propose live shows. Twenty years later, and after some deliberation, Das Ding was reincarnated under its old moniker but now with a revised line-up and a working set-up that reflected inevitable technological change. The Kindheitsmuster/Raid 7" is pressed on black vinyl, featuring a photograph that Danny Bosten took during his art school days, and the inspiration for the cover drawing of the H.S.T.A. cassette release from 1982. The 7" is limited to 500 numbered copies." - Minimal Wave.

"An album of long lost tracks by Dutch electronic music pioneer Das Ding, entitled Missing Tapes. Danny Bosten formed Das Ding as a solo project in the early 1980s and released his music and friends music via his own cassette label called Tear Apart Tapes. At the time, he was studying graphic design at art school, and in turn he ended up designing the artwork, cassette-sleeves and illustrations for the label himself. Meanwhile, he recorded his own music as Das Ding. Powerful dark electro, he made several addictive and danceable tracks which later become Minimal Wave hits. Danny made all his music in his bedroom which essentially turned into a small recording studio. He went on to release many of his own tapes and also played some live gigs. Old tapes were uncovered around 2010, and Minimal Wave released a remastered version of H.S.T.A. and select other tracks. A wave of renewed interest followed the records release and soon people were in touch to propose live shows. Twenty years later, and after some deliberation, Das Ding was reincarnated under its old moniker but now with a revised line-up and a working set-up that reflected inevitable technological change. Recently, Danny came across further tape archives from those early days. And from the batch, we selected our favorites to present to you in vinyl release form. Missing Tapes is a limited edition LP pressed on 180 gram creamy yellow vinyl, and housed in a heavy weight printed glossy black and white sleeve featuring one of Dannys original illustrations from 1982." - Minimal Wave.

"The tenth release on Minimal Wave, presented in a special die-cut jacket, is Das Kabinettes Spy Thriller LP. Two of the tracks: The Cabinet and Fudge It first appeared on their 7" release in 1983, and are now highly sought after. The Cabinet became a cult dance floor hit, and received lots of airplay on radio shows in Europe and the US throughout the 80s until now. The other tracks are great previously unreleased studio recordings. The LP is presented in a heavy weight matte die-cut jacket, with printed inner sleeve which shows through the window. Limited to 500 numbered copies and pressed on 180 gram vinyl." - Minimal Wave.

"Words are more often then not the point of departure for many works of Das Synthetische Mischegewebe. The track titles here stem from El Mundo Alucinante de Reinaldo Arenas, which itself is inspired by François-René de Chateaubriands Mémoires doutre-tombe. It is about time rather than history and about being in history. Having lost the war of time, the only thing that remains to do is being, and here we go, being infiniment exigent in its means of expression. DSM began in Berlin armed with a visual education from the early 80s. They quickly became part of the international industrial cassette scene. Composing for light installations with open-reel machines, cassette recorders, microphone and guitar fuzz boxes with both loud, quiet, occasionally full blast and frequently sneaking in little sounds, all alternating within a few seconds, create an electroacoustic anti-music. With unusual concerts in the underground network as well as in high art institutions and museums (such as Centre Pompidou) and later on with performances for mixed media installation, exhibitions and conferences on cognitive science and neurologic research related topics, the group toured with changing casts since the early 80s, and participated in international festivals throughout Europe and the US. Since 1982 they continue to produce vinyls, CDs and tapes on many international labels: Discos Esplendor Geometrico, RRRecords, Hypnagogia, Vinyl-on-Demand, Auf Abwegen, Harsh Reality Music, Equation Records, Das Cassetten Combinat and many others. Live and recording collaborations with musicians such as: The New Blockaders, Ralf Wehowsky, Frans de Waard, Ios Smolders, Zeitkratzer Ensemble, Artificial Memory Trace, ERG, MSBR, Toy Bizarre, Roel Meelkop and others. The LP is mastered and cut by Rashad Becker at D&M, in a limited edition of 330 hand-numbered copies, pressed on 140g vinyl and comes in a poly-lined inner sleeve. It is packaged in a pro-press jacket which itself is housed in a two-tone silk screened pvc sleeve with interweaving geometric designs." -Pan.

"Das Synthetische Mischgewebe started in the early 80s in Berlin with to electronical industrial / avant-garde associated cassette releases. Guido Hübner of Das Sytnthetische Mischgewebe wrote a piece for the Zeitkratzer Ensemble and its former sax player Ulrich Krieger, has been invited in the studio for Electro-acoustic music of the Arts Academy of Berlin and had Electro-acoustic compositions premiered in Berlin, Brugge, Caen. He lived in Berlin, Barcelona, Bordeaux and now in the Lower Normandy and is working on the Final collaboration with Richard Rupenus of The New Blockaders. Vinyl on Demand is proud and honours their work with an exclusive LP including rare and unreleased material called 80s Retrospective LP." - Vinyl-On-Demand. All VOD LP releases are on 180 gram vinyl, in #d editions of 500 copies.

"(Speckled Ax) was finally shrinkwrapped and ready to go in 1988. I placed a few copies with indie distributors but the market took a pass. Im leery of manifestos--I think things should speak for themselves. Plus the thing was made so many years ago that Im a bit foggy about it all. Its fair to say that the record is a study of contrasts, and the result of diverging ideas about what music should be--this is to say that the ideas were more entwined in earlier projects, which sounded nothing whatsoever like anything on the record (starting with PUS, my first band (1978), whose instrumentation consisted of power tools). The piano pieces were an attempt to reconnect with humanity in the course of some years spent chasing wild geese across two continents (the record cover is a kind of document of this time). The earlier of the two piano pieces (Busy Day) had a more architechtural conception behind it while the other one was conceived more in terms of an accommodation to silence. For what thats worth. I dont know anything about writing music, I just feel my way along. The versions of Wichita Lineman (one of my favorite songs) can be put down to "frustration with the music business" in the broadest possible sense. Any further reference is left to the eye (ear?) of the beholder." - Paul Dasken.
"Each side consists of two elements: a plaintive piano recording and a reinterpretation of Jimmy Webbs Wichita Lineman as protest music. Dasken is a conceptualist first and a musician second; each performance is site-specific and unabashedly amateur. His piano pieces will resonate with anyone who ever sat down at a piano without a lick of training but the will to peck out a pattern of notes that almost resembles a composition, if only to the player. That is to say they are intimate, singular, �??real piano,�?� and beautiful.
The first Lineman finds Dasken taking on a manic street preacher, singing the song to a beat tapped out on a coke bottle, an abstract form of heckling that weirdly puts bogus fundamentalism in its proper, ridiculous place. The second take finds him at a 1988 campaign rally for Bush the Elder, where the wild applause that follows each of the candidates proclamations and an efficient team of secret service agents renders Daskens protest little more than a barely-noticed exercise in futility.
Speckled Ax has gained formidable resonance with the passage of time. Its a key piece of loner Americana on wax, as personal and unique as records come. In the wake of 9/11, the fears and upset of the Eighties seem almost quaint, but Daskens voice in the wilderness burns brighter than ever as a fire to warm oneself by in this very long winter in America."
Douglas Mcgowan , October 2006.
Original copies of this strange private release out of Michigan. Released in 1988, handpasted artwork over old LP jackets, limited to 300 copies.
"Sounds like Alvaro, The Native Hipsters & Charlemagne Palestine w/one hand tied behind his back". - Roland Woodbe, Siltblog.

2013 release. "Limited hand-numbered edition of 500. Data-Bank-A is the highly prolific EBM/darkwave/synth project of Andrew Szava-Kovats, who is also known for his 80/90s works as and with Dominion, Compound, and Parade of Sinners on labels like New Rose/Lively Art (France), Subway (aka Subtronic) Records (Germany), Tragic Figures (Portugal), and KK Records (Belgium). As many artists did in the early 80s, he founded his own label called K.O. City Studio (later renamed True Age Records), through which he released his first tapes and records, including the cassettes Spiritus Sanctus and Language Barrier, the LPs Access Denied and The Citadel, as well as the 7"s Intervention and Isolation. All of these recordings from the early stages (81-85) of this amazing project can be found on this three-LP set with bonus 7"." - Vinyl-On-Demand.

"Ruth-Maria Adam, Pascal Hector, Ronnie Oliveras, Martina Ripplinger, Ulf Schütte, Marcel Türkowsky, Jan Werner. "Last year I was particularly impressed by their first LP as Datashock and Shivers. This is a very promising and young collective from Germany. The music has some affinities with Double Leopards, Family Underground and The SB... deep." -Qbico

"There is no constant line-up, as the group is joined by new members every now and then. Their music is defined almost entirely by psychedelic multidimensional live-improvisations stemming from 70ies Kraut-rock influenced by contemporary electronic music and psychotic dronescapes." -Textile. Mastered by Pete Swanson.

"Based in Oakland, California, Gregg Kowalsky and Marielle Jakobsons share internationally spanning solo careers as creative practitioners with a solid foundation in drone music composition and performance. However, it is a mutual love for analogue electric sound sources and tape multitracking that has resulted in their psychedelic, trance-inducing collaboration as Date Palms.
Honey Devash, Date Palms first release on Mexican Summer, is testament to their captivating skill for layering and balancing timbres into long-form, immersive slow burners. Astonishingly evocative of desert heat, summer nights, dry sandscapes of fuzz bass, fender rhodes, synth, violin, tanpura and feedback shift gradually like dunes in hot winds, as wavering mirages in the distance are picked out through slow melodies on keyboards, piano and flutes. Two tracks of incredibly slow-panning consideration, Honey Devash feels like a hazy meditation on survival; a prolonged buzz of tension and uncertainty melding with simple acceptance as the sun, unrelenting, beats ever down…" - Mexican Summer.

"Music for the rain forests of the moon, straight out of Oakland CA. Of Psalms is the debut album by Date Palms, the duo of Marielle Jackobsons and Gregg Kowalsky. The two have birthed a suite of slowed-down music of the spheres, with a canopy of glowing fog and a heavy narcotic bass pulse that keeps the whole thing rooted straight into the earth. Its a heady mix of alap paced violin phrases, jewel-toned keys, harp swells, distorted tapes and ever present bass waves all crafted with precision detail in a humid space that leaves a dreamy imprint in the mind long after waking. Although separately Jackobsons and Kowalsky have made inroads into these types of landscapes before (Gregg with his Tape Chants series and Marielle with MYRMYR & Darwinsbitch), nothing really compares the world of Of Psalms that the two created together with its perfect balance of micro and macro, inner and outer, cosmic and earth bound, casting some sort of old world magic on everyone within range." -Root Strata

"Date Palms revolve around the core duo of Gregg Kowalsky (keyboards, electronics) and Marielle Jakobsons (violin, flute, electronics). They employ traditional rock instrumentation to create music informed by Indian classical music, country, minimalism, and spiritual jazz, arriving at a style that is wholly their own. On their third album, The Dusted Sessions, the duo expanded the line-up to include Ben Bracken on electric bass, Michael Elrod on tanpura, and Noah Philips on electric guitar (a first for the band). Kowalsky and Jakobsons are both accomplished solo musicians in their own right: Kowalsky has released ambient albums on Kranky as well as a collaborative release with Josef Van Wissem on Amish, and Jakobsons has released music on the Digitalis and Students of Decay labels. Date Palms uses the sound and imagery of the dustbowl and the American West to express something truly cosmic and unique within the already highly individualistic Bay Area underground." -Thrill Jockey.

"Date Palms revolve around the core duo of Gregg Kowalsky (keyboards, electronics) and Marielle Jakobsons (violin, flute, electronics). They employ traditional rock instrumentation to create music informed by Indian classical music, country, minimalism, and spiritual jazz, arriving at a style that is wholly their own. On their third album, The Dusted Sessions, the duo expanded the line-up to include Ben Bracken on electric bass, Michael Elrod on tanpura, and Noah Philips on electric guitar (a first for the band). Kowalsky and Jakobsons are both accomplished solo musicians in their own right: Kowalsky has released ambient albums on Kranky as well as a collaborative release with Josef Van Wissem on Amish, and Jakobsons has released music on the Digitalis and Students of Decay labels. Date Palms uses the sound and imagery of the dustbowl and the American West to express something truly cosmic and unique within the already highly individualistic Bay Area underground." -Thrill Jockey.

“Yannick Dauby is a sound artist based in Taiwan since 2007. He relentlessly explores the soundscapes of his adopted island through field recording, audio documentaries, and community projects. He has created soundtracks and sound environments for contemporary dance, public art, and films, and has been involved in various ecological and local traditional activities. Dauby stayed in Penghu, an archipelago located in the Taiwan Strait, during several months in the first half of 2013. His daily activities included beachcombing, study and documentation of the reef animals, field recording, some teaching, and composing musique concrète in a temporary studio, an old building from which he could hear the seashore and announcements of the itinerant sellers as well as the rituals from a temple nearby. Immersed in this environment, Yannick composed the two sides of this record, using the sounds of the underwater fauna, the omnipresent waves, soundscapes of harbors, music played during funerals, shortwave radio broadcasts, in-site or indoor improvisations using old artefacts, and various sessions using analog electronic instruments.” - Discrepant.

"Yannick Dauby returns to Discrepant for Vol 2 of his ongoing study of the sounds and sights on the Penghu Archipelago, Taiwan. Penghu Experimental Sound Studio Vol. 2 uses interviews, field recordings, found objects, and subtle electronic manipulation to transpose Yannicks impressions of the islands natural beauty. All sounds, field recordings, and improvisations on electronic instruments, are from Penghu, Taiwan. Interviews of children extracted from the film Childhood Of An Archipelago, by Yannick Dauby and Wan-Shuen Tsai. "ló-kó́͘ -chhù" means "Coral House" in Taiwanese. RIYL: Andrew Pekler, Mike Cooper." - Discrepant.

"yannick dauby is a french composer, known for his collaborations with alio die ("descendre cinq voiles à lombre dune voile" cdsingle on amplexus), mnortham (the "entrelacs" project) or thomas köner (the recent "zyklop" 2cd set on mille plateaux). this 3" is a re-release of a piece yannick dauby self-released in 1999, now accompanied by a new piece. deep concrete ambient music..." - Taalem. "sounding sands are found in many places in the whole world. this rare natural phenomenon, is represented most of the time by beaches, whose sand is squeaking when it is struck or pushed. however, in some deserts, we meet some large dunes which have a more astonishing activity. sand avalanches, mostly provocated by the wind, create very deep sounds, extremely powerful, accompanied by tremors and lasting for several minutes. unexplained, these singings from the desert are despicted like roarings, voices from surnatural beings or the rumbling of the thunder." - Yannick Dauby.

"Long-running Twin Cities horsepower trio DAUGHTERS OF THE SUN have been subtly chugging out their faded-tattoo spirit-in-the-sky psych exhaust for at least half a decade now but we didnt catch the drift till March 09, when we got to witness a packed post-midnight smoke-soaked Minneapolis loft set and waved our lighter with the masses. Ghost With Chains is their third official full-length (not including some EPs and a killer split) and its as beautifully moon-burnt and highway-swept as anything theyve done." -Not Not Fun.

"Originally released by the band in 2007 as a screen printed CD. The lineup consisted of BENNETT, NICK and RYAN. Recent release on Not Not Fun. Edition of 300 copies with artwork by LISA LUCK." -Modern Radio

"A split EP between two hot combos. DAUGHTERS OF THE SUN deliver their 18-minute epic "Dry Ice," while VAMPIRE HANDS follow with five tracks of their own. Edition of 500 copies. Includes a free download." -Modern Radio

"All My Circles Run is the third full-length release by Montreal-based electro-acoustic composer Sarah Davachi and her second outing for Students of Decay. In a move which may surprise followers of her previous output, the five compositions on this record eschew synthesizer entirely, each focusing on a different instrument, including strings, voice, organ and piano. What remains consistent, however, is her striking attention to detail and a commitment to tonal possibilities that characterize all of her work. The sinewy For Strings opens the album, with keening overtones stretching out in all directions to form a massive, slow-moving, radiant sound. For Voice charts an even more celestial course, as wordless vocals ebb and flow to awe-inspiring effect. The stunning, melancholic For Piano closes the record and is a high watermark in Davachis oeuvre, with plaintive piano figures nestled atop a shimmering string drone to create a rich, reverent atmosphere. All My Circles Run is a step forward from an exciting artist whose compositional and aesthetic tendencies steer her steadfastly toward both the subjunctive and the sublime." - Students of Decay.

"Dirt-soaked dirges and country-fried jams filter through the backwoods of their Madison, Wisconsin home on Free Country . This is the beginning. This is the moment Davenport was truly born. Clay Ruby and his clan bring us an album full of diamonds and pearls. Conjuring up the spirits of No Neck Blues Band and Jackie-O Motherfucker, Ruby and his primitive choir sing late into the night. The entire proceedings are a celebration of the journey. Where it leads is of no consequence, but embarking on a trek to find something new is what matters." - Last Visible Dog.

"Davenport crawl out of the scum hippie streets of Wisconsin to unfold a
mystic paper of drifty psychedelica, blown forward by an enchanting wave of
chiming bells, percussion flutter, trance soaked vocals and all around dense
vibes. A scattered cosmic burst of beauty. Feedback that carves backwards
into flesh and flips you over for a primitive jam of other worldly powers.
Imagine barbaric trolls fucking with your brain, mystical creatures that
summon their self-reflection in a druggy field of sunflowers. Packaged in
silkscreened fold-out sleeves, graced with hysteric artwork by Jelle Crama.
Limited to only 150 copies, go stand on your toes." - Audiobot.

"Hailing from Northern California, JOHN DAVIS is a sound artist, composer and filmmaker who has released music on labels such as Root Strata and Digitalis. With Ask the Dust, he offers up a moving suite of compositions employing a plethora of instrumentation: guitar, piano, tape loops, Max / MSP, field recordings and the newest addition to his arsenal, a complex assortment of Blacet synthesizer modules. Davis uses the synth not as the crux of his recordings but as a tool among many in his kit, weaving oscillations and mangled or rhythmic tones through pastoral webs of processed guitar and field recordings. To this end, the richness of his palette cannot be denied, nor can his prowess as a masterful arranger of abstract sound. Opener "Superpartner" is a jittery array of pure sound that refuses to sit still, developing slowly and accruing detail and a sparring partner in the form of delicately treated acoustic guitar. Perhaps the records defining movement, "Synecdoche," begins with a contemplative, almost romantic piano arrangement, sparse and beautiful-a moving miniature abruptly broken apart and replaced by a bed of layered sine waves and guitar haze that somehow matches the radiance of what preceded it. Striking in its attention to detail and compositional deftness, Ask the Dust is Daviss most refined set of recordings to date, a deep album that rewards focused and repeated listening." -Students of Decay.

"hell hall says it sounds like coryell meets cobham....
while i dont disagree, i think its a bit more
fucked..... sounds like if some kids who have been
listening to nothing but charlie christian records
their whole life found a non-existent bailey/harris
duo lp and tried to imitate it while drunk..... very
strange.... edition of 60" - Maim & Disfigure.

"Terry Day was a founding member of the People Band and its precursors in the 1960s. He subsequently worked with several leading improvisers such as Maarten Altena, Derek Bailey, Fred van Hove, Maggie Nicols, John Russell and John Stevens. He was a member of numerous groups including the Four Pullovers, Alterations, the Promenaders, Company, Kahondo Style and the Loverly Band. His activities have been curtailed since the late 1980s due to ill health. Before that he was a compelling force on a wide variety of instruments, as can be heard on this collection recorded from 1978 to 1981. This CD contains 29 solo improvisations and multi-tracks performed by Terry Day on piano, keyboards, alto & soprano saxophones, bamboo pipes, drums, percussion, cello, mandolin, home made instruments, balloons, toys (blowers, whackers & pluckers), African thumb piano, voice, Chinese flutes, plastic trumpet, and a Michel Waisvisz crackle box. (There are also cameo appearances by Peter Cusack and Davey Payne on three punk rock songs.)" - Emanem.

"From Denmark 1970; LP in edition of 450 numbered copies, glossy heavy sleeve, 180 gram pressing, insert. The Danish group Days was formed in Copenhagen in the winter 1967/68 by Peter Lindhe (drums), John Kjaergaard (vocals/rhythm guitar), Ole Fester (vocals/bass) and Lars Reinau (vocals/lead guitar). The bands repertoire was mainly rock and blues oriented with cover versions of songs from John Mayalls Bluesbreakers, Cream, Jimi Hendrix and The Rolling Stones. During 1968/69 Peter Lindhe and Lars Reinau started writing original material to the band and the repertoire started changing from rock/blues cover versions to self composed more lyrical songs with elements of the Beatles, Procol Harum and (early) Deep Purple. In 1969 Jørn Anker (Hammond organ) joined the band and he too started contributing new original songs to the band. The Days LP was recorded in the early summer of 1970 and in 1971 the band split up. Days is one the the rarest albums from Denmark which also came out on Spectator (Blues Addicts, Terje Jesper & Joachim, Moses). It is full of amazing prog tunes with great organ elements and strong fuzz guitar. A killer album from beginning to end."- Shadoks.

"Blinding white magic in light of the new age opera, the Dangerous Boys Club bring the heat. DBC has the lips of a killer, the unholy choir of the repentant, and the glamour cast from gold. Known for their history in such outfits as Heroin, Antioch Arrow and Get Hustle, their debut album Vril on Fast Weapons awoke followers out of their coma. Dais now brings everyone to the alter with their follow up LP, Pris. Sacramental electro synth-rock mixed with glam violence inducing one into a state of bliss and ecstasy. Not from this world…not of this time, but DBC knows exactly what we needed to hear. Making sure that everything will be alright, just give in to the club. Limited edition of 500, soaked in soul." - Dais.

"There were bands like Can in Germany, Nurse With Wound in UK, The Residents in USA, and there were Deficit Des Annees Anterieures in France. Formed in 1979 by 3 artists from the Beaux-Arts of Caen: Jean-Luc André, Sylvie Martineau-Fée, Jean-Philippe Fée; DDAA was one of the leaders of the independent, experimental, industrial 80s French scene with their highly artistic, peculiar and thoughtful vision, which is brilliantly illustrated by their own label Illusion Production (more than 40 references published). This undoubtedly makes DDAA one of the most outstanding bands of the French underground over the last thirty years! Behind this radical and utopian group are three self-taught musicians of high creativity with a surprising and rich discography, around thirty titles released under all formats: vinyl LP, singles, 10", tapes, CDs and many compilations (some deleted titles are still very collectable today). From a post-punk/avant-garde/surrealistic music made by improvisations and collages, DDAA created an odd and captivating world, somehow naive but truly emotional. Eternal travellers from the imaginary (into space and time), after they ventured in Africa (1980), in the Maracayace land (2000), in the Russia of the Tsars from the 19th century (Les Ambulants 1984) or even with the French poets from the 16th century (Ronsard 1988), DDAA went to Japan with Action and Japanese Demonstration in 1982. And they will be well inspired by the land of the rising sun, so its no surprise to see them, the next year, on the Paris-Tokyo compilation and also in the Pascal Comelade album Detail Monochrome (1984) on the track Pluie Japonaise. First full-length vinyl album (Illusion Production -- IP010) and a cornerstone in their history, Action and Japanese Demonstration is considered by many fans as one of the best DDAA works to date. A fascinating album! Ten actions and poetic demonstrations like Japanese woodblock prints (ukiyo-e), refined and entrancing atmospheres, drawn and played by the 3 dadaïsts with synths, vocals, chorus, crazy guitars, percussions, rhythms box, flutes and noises and Bernard C and Marcel Kanche on sax. For a long time unavailable, this album is finally reissued on CD for the first time with 2 unreleased tracks from the same recording session plus 20 minutes bonus Musique et Bruits du Bas Pa-Tât, a collection of 7 rare tracks from 1985 originally released on tape for the very limited Jean-Luc Andrés comic strip titled Mutants du Kwantung. This is a dark ethnic report which brings you in the primitive southern China before Jesus Christ. This CD reissue is an exact reproduction of the vinyl LP, and is packaged like the original in an heavy card sleeve hand fold plus a 16 page color booklet with all inserts, texts and unreleased pictures (DDAA live in 1979!). Remixed and remastered from the master tapes, this gem is now available again after more than 25 years. Action and Japanese Demonstration is a pure delight, a kind of improbable meeting between the famous artist Joseph Beuys and the master of the ceremony Sen No Rikyu. Splendid!" - Fractal.

Four songs recorded at "The Scientific Underground" studio between September 1, 2013 and February 15, 2014. "This 10inch offers 3 tracks where the DDAA plays with songs and world music. Another musical hit from these French underground legends." - Illusion Production. Self-released by DDAA.

"The second installment of the Club Moral archive series is DDVs interpretation of Anthony Wisdoms A Colour Atlas Of Venereology (Wolfe Medical Atlases 1973). All tracks were performed on Wasp and Korg MS50 synths, and recorded at Club Moral in 1982 on a plain stereo cassette deck with no additional remixing or mastering. Samples from Andrezej Zulawskis 1981 movie Possession were used; lyrics from the Colour Atlas, "Haut Und Geschlechtskrankheiten IV," "Visites Cliniques," and "Revue de Dermatologie" are recited in DDVs typically deranged, animal-like fashion. Almost all material here was never performed live nor featured on other Club Moral related recordings in any other form. Raw and offensive, with all original materials reprinted in a sixteen-page booklet. A classic piece of industrial history." -Trash Ritual

"2010 release. De Brassers are one of the most notorious bands in Belgian new wave/punk history. With their no-nonsense attitude, they scared the shit out of the local Catholic community of Hamont. De Brassers were a local mixture of the Sex Pistols (in the lowest gear) and Joy Division (they always performed a cover version of Joy Divisions "Shadowplay"), combining a criticism of bureaucracy and politics with experiences of psychological and existential tensions. The doomed sound they produced tells a lot about the dark atmosphere of the late 70s and early 80s: the fear of atomic bombs, Cold War pessimism, police violence against squatters, the first cases of AIDS, and the grim years of Reagan & Thatcher. The CD and DVD presented here take you back to that time. All tracks from En Toen Was Er Niets Meer, their first 7", and the self-titled 12" are here, as well as rare and unreleased tracks taken from live performances and the cassette Levend. If youre in for a raw slice of Belgian history, let De Brassers immerse you in a cold wave of punk. This release also contains a documentary about De Brassers. Shot in black and white, plus color by Chromasoom (Jan Weynants). Over 50 minutes of live footage and a great amount of interviews with (ex-) band members and other people who were involved. English subtitles included." - Onderstroom.

"Recordings of a stand-out gig at Doornroosje in Nijmegen (NL). By 1982, De Brassers had been playing in almost every small public space or squad in the area and logically they had gathered a cult following. Doornroosje was/is the club where underground music groups performed before they became well-known, especially in the 80s, which were an interesting period with Joy Division, Nick Cave, and many local punk/new wave bands hitting the stage. Here we find De Brassers at the peak of their powers performing "Pijn," "They Wanted Us Away," "En Toen Was Er Niets Meer," the Joy Division cover "Shadowplay" and six other raw punk/synth/wave tracks. Live, they sound even more real and raw. De Brassers are one of the most notorious bands in Belgian new wave/punk history. With their no-nonsense attitude, they scared the shit out of the local Catholic community of Hamont. De Brassers were a local mixture of the Sex Pistols (in the lowest gear) and Joy Division, combining a criticism of bureaucracy and politics with experiences of psychological and existential tensions. The doomed sound they produced tells a lot about the dark atmosphere of the late 70s and early 80s: the fear of atomic bombs, Cold War pessimism, police violence against squatters, the first cases of AIDS, and the grim years of Reagan and Thatcher. Pressed at Handle With Care and housed in a matte-varnished cover sleeve. Mastered by Anders Peterson. Edition of 300 copies."- Onderstroom.

"Time to unearth another Kraut obscurity, sought-after by collectors worldwide since his inclusion on the legendary NWW list. Franz De Byls second album, released by Thorofon in 1971, was actually his debut as a solo performer, an eccentric collection of freaky acoustic folk songs with bluesy elements and an extra satirical, political twist (not unlike Floh De Cologne). Weird sounds and compulsive chanting from this master of the acoustic guitar, one of the most curious characters to ever emerge from the Berlin underground!" - Wah Wah.

"A true pearl of the Italian minimal synth scene from the 80s. Tommy De Chirico founded the post-punk band Politburo in Turin during 1981 together with Maurizio Rubinetti (Sick Rose) and Massimo Aluffi (Ivan Siberia). On his own, he released the 7" Close Your Eyes/Flower Into the Factory, produced and recorded at TKS Studio by the Monuments Mauro Tavella between 1982 and 1983 and subsequently released by Turins Shirak Records in 1984. When Politburo split in 1986, Tommy continued to experiment with various projects and sounds, including Thugs, Quiet (with members of Monuments and Deafear), Noxeda, and Lacrimal, with whom he still plays today. Also presented here are three bonus demo tracks: a rare version of "Close Your Eyes" and two out-takes from 1983: "Vuh-Ya" and "Tuxedo Dance." The original graphic cover was realized by Bruno Zanichelli aka Pennarex, an underground artist from Turin. Strongly recommended for fans of Martin Dupont, Oppenheimer Analysis, Das Kabinette, Victrola, and Neon." -Mannequin.

"De Cylinders, a six piece power pop band from the Netherlands, had a solid reputation as a live band in the Netherlands and Belgium playing along side bands such as the Pretenders and Ultravox. They recorded this 45, their first of three for the CNR label, in 1979 at Soundpush studios, Blaricum with Dennis Kloeth acting as producer. The playing on the 45s is tight, the production is spot on and the songs are extremely well crafted. The anthemic “I Wanna Get Married” did not permeate deeply into the personal life of the band members; as of today not more than two Cylinders are wearing a wedding ring. The back side, “Looking for work” was more prophetic: all six Cylinders are nowadays firmly employed, though five of them no longer in the music business." - Sing Sing.

"“We must pay”, an intoxicating musical mix of fun, frenzy and finances, was De Cylinders second single for CNR. Remarkably, the song was recorded in a single take during the same sessions that spawned the first single. As such, the sound of “We must pay” comes very close to what De Cylinders delivered as a live band. Propelled by a haunting Farfisa organ, “We must pay” is 24 karat power pop. The medium-tempo flipside “Chart buster” is no stinker either. Fact: Today, nearly 30 years later, CNR is home to André Rieu, king of the Wiener Waltz, a definite non-power pop megastar from the Netherlands." - Sing Sing.

"i was blown away when i got acces to the extremely big archive of this belgian analog synth king, a ton of reel tapes were left behind, a bunch of them not mentioning any information, a bunch of them mentioning a vague date.
EDMOND DE DEYSTER was a rather shy nihilist, who didnt even tell his own family he was making music untill the late eighties. he never released anything because he thought noone was intrested in his psychadelic synth sounds. he would describe his own music as unlistenable, annoying and a waste of time. sadly he died in 1999 of a drug overdose, the last 6 years of his life he didnt record any music anymore.
this is a first selection of his archive, taken from 2 reel tapes mentioning 1975, no other info, i hope its the earliest recordings he did, but i am not sure, as its possible that the reels that dont mention anything were recorded at an earlier state..
his early stuff is comparable to the more symphonic sounding synthesizer waves and tones of for example CONRAD SCHNITZLER! beautyful dark synth explosives, blurry and squirky layered sounds, i wish this was realy an endless record!
limited to 400 copies"- Ultra Eczema.

"this is the second in a series of EDMOND DE DEYSTER (who sadly died in 99) archival lps.
EDMOND DE DEYSTER left an incredible amount of reel tapes behind full of beautiful analog synthesizer music. his family was kind enough to share this archive with us. it took me way longer to get this second instalment together, partly because i wanted to interview his relatives and other people who knew him during the years these tapes were made. frankly time flies by too quick and i decided to first release this second lp and do the interview for the third release in this series.
this second lp got selected from 2 reel tapes that were in the same box as the ones from the first lp. one of them mentions the same info as those first ones, "1975", the fourth tape didnt mention any information.
im not entirely sure if these recordings were made in the same period, though they sound more like the previous stuff then like the upcoming releases; incredibly sad and lonely synth tunes!
comes in a duo coloured cover with photos of edmond de deyster and a insert with liner notes and another picture. limited to 500 copies." - Ultra Eczema

"ARRINGTON DE DIONYSO (OLD TIME RELIJUN and MALAIKAT DAN SINGA) offers a solid 20 minutes of abrasive and bizarre free form saxophone work over the distorted reception of a smooth jazz radio station. Confusing yet strangely honest feeling. The first half of the flip side features several short pieces recorded in the same era (some sounding like fragments of Old Time Relijun pieces, some more in-line with Arringtons solo work), with the second half pulled from his masterpiece, "Slow Dancin Under the Moon Tonight," about which he said: "...was recorded sometime in 2010 using Songsmith software. It is one of the most unlistenable and abrasively grating albums ever made by Arrington de Dionyso. Enjoy!" -Gilgongo.

"Charles de Frontanel (known as the boss of GRAHN GEEN-YOL Records, the 70s electro label which recently resumed his activities in collaboration with Invasion Planete) is back with a new masterpiece of electronic weirdness. Haunted by a troop of circus freaks whose physical difformity reflects the absurdity of our world, "Grotesque" is a dark moral tale, a sweet & sour fantasy which subtly combines vintage electro sounds, acoustic instruments and third wave beats into nine minimal pieces of both picturesque and chilling quality. Something weird and a taste of blood from the French wizard of gore. 10", black vinyl in special gatefold sleeve + 6 inserts. limited edition of 275 hand-numbered copies." - Treue Um Treue.

"Some people fly under the radar by accident, some by design. Matt De
Gennaros been making music since the 90s, and has collaborated with
the likes Alastair Galbraith and Scott Tuma, but he makes even those
homebodies look like gauche self-promoters. Which is both a shame and
entirely a propos, because while this lovely record, like everything else
Ive heard him do, is well worth hearing,
it probably wouldnt sound like it did if it was made by a guy with a more
boosterish frame of mind. De Gennaro lives in a 150 year-old, one-room
schoolhouse in Michigan, where he studies ancient philosophy for fun
and records music that defies easy dating to decade or century.
Streichzither and Sweetbreads, for example, are played on a viola da
gamba, and each sounds like it could have been a hit before
Shakespeare was born. Each bowed note rings out with a resonance
that could doubtless be explained by tuning nerds, but who wants
explanations when the music takes you back to a time when nothing
smelled like gasoline? An acoustic guitar instrumental called
Jimmie Rodgers in Sierra Leone uses backwards tape and frontwards
harmonica to point in at least two directions not suggested by the title;
follow its pointing vectors and youll be so dizzy, youll hug a tree for
balance. Flying Saucer Attack might have raised the flag for rural
psychedelia in England, but it flies in Michigan now. But the one that
really gets me is I Hear You J. Starck, on which some wheezy keyboard
(A clavioline? Harmonium?) on a slowed-down tape sounds a funeral
hymn straight out of the Scottish highlands; a crackle in the background
suggests that the pier has already been lit. 350 copies." - Bill Meyer.

“Performed by pianist Fabian Fiorini."Five Crocuses have been selected for this CD. From 2004 to 2007, I reduced the music I wrote between 1979 and 1994 to monophonic strands, sonic DNA, although some of the chords survived. Some of these strands went into sonates curieuses for muted violin, while others turned into 10 crocuses with sustained notes. Crocus is notated in a classical fashion with bars; it is visual music, each musical element a picture. Interpretation is cold, neutral, geometrical, staccato; no crescendo, decrescendo, accelerando or ralentendo." Composer/violinist Baudouin de Jaer studied composition with Philippe Boesmans, Henri Pousseur, and Frederic Rzewski and with Bruce Mather at McGill University (Montréal). He composes for the Korean instruments daegeum, haegeum, gayageum and geomungo, and for orchestras of Korean traditional instruments. In 2010 he resolved the enigmatic music system of Swiss artist Adolf Wölfli and released a CD called The Heavenly Ladder on Sub Rosa. In 2010, Baudouin de Jaer was awarded a prize from the National Gugak Center for his gayageum compositions.” - Sub Rosa.

"De Kift emerged from a Dutch squatters movement and the punk waves of the late 70s and early 80s. Their debut vinyl LP Yverzucht was released in 1989. Ferry: guitar & brass (Svatsox); Wim: drums (Rondos, the Ex); Jacco (GRRR): bass; Maarten: vocals (Pistache B.V.). De Kift were a tremendous and original force at the time. Sparse, rhythmic, angular, yet energetic music. Staccato punk with fanfare elements. Maartens lyrics were recited, spat out and crooned, bleak reflective explorations of the Dutch mental state of the times. Maarten (as well as Jacco) departed the band after debuting Yverzucht. Out of the ashes, emerged a new conceptual, literary De Kift that would play on for 20 years. De Kift were part of the squatter movement. Playing benefits, raising funds, eyebrows and soundtracking a lifestyle on its last legs." Includes insert with Dutch/English lyrics. -Mississippi

“Before New Age hit terra firma at the dawn of the 1980s, the classically-trained Bay Area composer Jordan De La Sierras consciousness soared with cosmic concepts. With cues and lessons from the great minimalists La Monte Young, Terry Riley, Pandit Pran Nath, and help from the venerable public radio program Hearts of Space, De La Sierra embarked on journey in alternate tunings and resounding reverberations, transporting entranced listeners from the Golden Gates to the intergalactic. Take an interstellar ride on the sensory engulfing space piano with this lovingly recreated double LP set, complete with De La Sierras India-inspired visual artwork and musings on the tableau of space.”- Numero Group.

"Archival recordings from Nigers seminal pscyh-rock outfit, Azna de LAder. Intense shrieking solos, fuzzed out guitar, and hypnotic crashing drums. Equal parts Western rock and Bori possession music, West Africas answer to Zamrock. Playing in their home country for 40 years, but living in a remote region, this is the first ever official release." - Sahelsounds.

Edition of 300. Comes in a hardboard linen box with 22-page booklet and large poster with score.
“Joris de Laet (Belgium, 1947) is a fully autodidact composer of electroacoustic music. Between 1972 and 1975 he worked at the IPEM along with Lucien Goethals and Karel Goeyvaerts and in 1973 he founded the SEM (Studio for Experimental Music) where he organised plenty of group sessions, live performances, lectures,... De Laets work is adventurous, complex and difficult to classify, due to many interesting contrasts in his style and approach - academic vs intuitive, modern composition vs free improvisation, acoustic vs electronic, sound vs noise,...

This selection of his early recordings (1972-1979) represents an overview of his intriguingly radical and highly personal work which includes solo tape experiments, live electronics with Karel Goeyvaerts and group performances with experimental instrumentalists from the SEM ensemble : Pieter Kuyl (chapmanstick), Leo Verheyen (trombone), Paul Adriaenssens (flute and amplified objects), Maurice Verstuyft (flute).

All material has been mastered from the original tapes and is previously unreleased.” - Metaphon.

Edition of 300. Comes in a hardboard linen box with 46-page booklet.
“Joris de Laet (Belgium, 1947) is a fully autodidact composer of electroacoustic music. Between 1972 and 1975 he worked at the IPEM along with Lucien Goethals and Karel Goeyvaerts and in 1973 he founded the SEM (Studio for Experimental Music) where he organised plenty of group sessions, live performances, lectures,... De Laets work is adventurous, complex and difficult to classify, due to many interesting contrasts in his style and approach - academic vs intuitive, modern composition vs free improvisation, acoustic vs electronic, sound vs noise,...

This selection of his early recordings (1972-1979) represents an overview of his intriguingly radical and highly personal work which includes solo tape experiments, live electronics with Karel Goeyvaerts and group performances with experimental instrumentalists from the SEM ensemble : Pieter Kuyl (chapmanstick), Leo Verheyen (trombone), Paul Adriaenssens (flute and amplified objects), Maurice Verstuyft (flute).

All material has been mastered from the original tapes and is previously unreleased.” - Metaphon.

"..In 1957, (De Maria) graduated from the University of California at Berkeley, where he earned his M.F.A. in painting two years later. De Maria and his friend, the avant-garde composer La Monte Young, participated in Happenings and theatrical productions (including very early Fluxus events) in the San Francisco area.
In 1960, De Maria moved to New York; here he wrote essays on art, which were published in 1963 in Youngs "An Anthology", and took part in Happenings and multimedia presentations. In 1961, he made his first wooden box sculptures. De Maria and Robert Whitman opened the Great Jones Street gallery in New York in 1963; the same year, De Marias first solo show of sculpture was presented there. This year, he worked as a drummer for the rock group The Velvet Underground. He continued to work in wood, began his "invisible drawings," and composed music. With the support of collector Robert C. Scull, De Maria started making pieces in metal in 1965.
De Maria emerged as a leader of the Earthworks movement in 1968 when he filled the Galerie Heiner Friedrich in Munich with dirt. This year, he also made his The Mile Long Drawing in the Desert in the Mojave Desert for Walls in the Desert, a project, originally conceived in 1962, which is to consist of two parallel mile-long walls. In 1968, he also participated in Documenta in Kassel. A major exhibition of De Marias sculpture was held at the Kunstmuseum Basel in 1972. Earthworks and serial geometric sculpture continue to occupy De Maria in the 1970s: his Three Continent Project was completed in 1972 and the Lightning Field in New Mexico was finished in 1977. That same year, De Maria recreated his Earth Room at the Heiner Friedrich Gallery in New York. The artist lives in New York." -Guggenheim.

Self released CD (with almost no distribution) featuring De Marias tribal drumming mixed with field recordings (as the title implies). The two pieces, Cricket Music and Ocean Music, were originally recorded in 1964 and 1968 (evidently with some help from Tony Conrad). Restocked yet again... Very highly recommended!

"Dead Cert collect three unique and chilling electro-acoustic compositions by the pioneering head of Belgiums Institute of Psychoacoustic and Electronic Music, dating between 1958-1971. Born in 1904, in Roeselare, Belgium,Louis De Meester was a self-taught musician who, after travelling widely as a professional player, professed himself an autodidactic composer by 1945 and proceeded to become "Music Modulator" at The BRT (Belgian Radio and TV broadcasting company) and later head producer and artistic director at IPEM in Ghent between 1962-1969. His work, covering chamber music, lieder, cantatas, and concertantes has been subject of renewed focus recently, thanks to reissues such as Metaphons 50-year anniversary compilation of IPEM recordings, and now thanks to the efforts of Andy Votel and Demdike Stares Dead-Cert imprint, were presented with three of his finest pieces plucked from the archive of Alpha Brussels and carefully transferred from tape with little to no further processing byAndy Popplewell. They include "Incantations" (1958) and the string-heavy "Spielerei" (1970), plus a very necessary reissue of the outstanding "Mimodrama" (1971), which was also reissued by Keith Fullerton Whitmans Creel Pone in 2008 and was last available on vinyl in 1974. "Mimodrama" is the records biggest attraction; a 26-minute composition for magnetophone, patching elements of previous works into a sort of biographical account, travelling from oneiric electronics to more defined concrète shapes and textures to almost arcane Mittel European folk melodies and rhythms. Remastered by Gareth Mallinson and Matt Colton. Limited edition pressing of 500 copies." - Dead-Cert.

“Brussels-based Yves De Meys minimal discography belies his profound ability for sound design and narrative in electronic music. Previous releases on LINE and Sandwell District have blended techno and sonic art practices into an abstract landscape full of disjointed rhythm, cavernous depth and an enduring originality in his choice of sound. This 12" release on Opal Tapes consolidates those practices with a darker sonic palette than usual. "Box Caisson" opens side A with an ultra-deep shuffle through open circuitry, amp buzz and stabbing kick and bass line combination. Side B both brightens and darkens simultaneously as a stronger sense of melody is introduced on "Eye Splice," a cinematic cut evoking science/fact industrial work lines and gelatinous mid-range detailing.” - Opal Tapes.

"Blume present the first vinyl reissue of Jocy De Oliveiras legendary debut Estorias Para Voz, Instrumentos Acusticos e Eletronicos, reissued for the first times since its original release in 1981. Defined by a body of singular music spanning seven decades, within the histories and continuing legacies of avant-garde practice, she is without equivalent. Her debut album Estórias Para Voz, Instrumentos Acústicos e Eletrônicos resonates through a shimmering body of organized sound, unveiling truths lingering in the shadows, the sins suffered by the Latin American avant-garde, with the actualities of its astounding heights. Oliveira began her career as a concert pianist. She left Brazil at young age to study in America and Europe, before being recruited by major orchestras across both continents, working under Stravinsky, and having pieces written for her and premiering of works by Berio, Xenakis, Santoro, Cage, and Manuel Enriquez. During the early 1960s, Oliveira shifted her efforts toward composition. She embarked on a process of folding organized sounds across nearly every context it could inhabit, blurring the lines between performance and composition, and incorporating diverse media well beyond the world of sound. In 1961, within a collaborative theater work written with Luciano Berio, Berio Apague Meu Spot Light, she instigated the first performance of electronic music staged in Brazil. Released in 1981, during the last years of her countrys military dictatorship, Estórias Para Voz, Instrumentos Acústicos e Eletrônicos was met by controversy before quickly sinking from view, heard by almost no one beyond Brazils borders. Among the most astounding realizations of electroacoustic process ever recorded, it is a series of sonic stories for voice, and acoustic and electronic instruments: prepared piano, violin, percussion, synthesizers, electric celesta, etc. The albums singularity, culture, humanity, and introspection cannot be displaced; like its composer, Estórias Para Voz, Instrumentos Acústicos e Eletrônicos is Brazilian. Its draws on a diverse range of the countrys music and percussion traditions, as well as Indian raga structures, and Japanese Shōmyō singing, inspired in part by the sounds of immigrant communities within São Paulo, the city where Oliveira grew up. A landmark classic from the 70s Brazilian electronic music scene. To quote Keith Fullerton Whitman, this is the "lost Tropicalia/psych/free-vocal/ring-modulator freakout/jam hybrid that youve only dreamt about!" Comes in a full-color cover with a printed inner sleeve housing a Nagaoka anti-static record sleeve; Includes original insert that functions as Obi; Red-colored vinyl." - Blume.

"More magical psychedelic jamming coming from the toverstaf of Bart De Paepe (Sylvester Anfang II, Innercity, Amanita Vulva). The Moe Tucker-style primitive drums, guitars and harmonium are still there in this attempt at classic rock. Recorded during the hazy days when he suffered several blood clots. Cover by Anne Collet. Edition of 80 copies. " - Sloow Tapes.

"Chronicling the first 10 years of Sloow Tapes, mellow my mind gives an overview of all the tapes, broadsides, lps and booklets published so far. From Keijos desolate avant/acid folk moves to Fursaxas spiked organ drones with a short detour by way of Ira Cohens Akashic Records. Fully annotated with detailed information about the tapes, promo texts, reviews and a few texts written especially for this publication by Bart De Paepe, Matthew Parry and Louise Landes Levi. Full color. A co-producton with Kraak. 300 copies." - Sloow Tapes.

"We are proud to announce our debut release the wonderful "Solitary Moon LP" by Bart de Paepe (Sloow Tapes/Wax). This psychedelia/space rock LP is limited to 250 copies,all covers are recycled, repainted with a screened print on glued to the front and back. one seam at the bottom, corners are tied together with different wools" - Vohu Mana.

"Father Slow, or Bart Sloow, also known as Bart De Paepe, is undoubtedly the first (and possibly only) Belgian citizen to have made Michael Gira blush. This is why you may have heard of him. However, despite his nickname, he is the foremost provider of psychedelic cassettes and splendid eye torture via his Sloow tapes and Sloowwax labels.
For the longest while I had absolutely no clue Bart De Paepe was also the elusive author of psychedelic hits, songs that always seem to have been there, hard to divide “zoners”, reminiscent of early Spacemen 3 after a serious dose of natural codeine.
All instruments on this record are played by the man himself. Its an instant classic psychedelic bedroom record that makes you wish reality was painted in green on red throbbing waves." - Ultra Eczema.

"Aural brawls of ornamented space offal, occult bedroom buzz, wonky vocal cords expansion and heaps of klingklang in- and outside the copper dome called free will: since 2005 Bart De Paepe and his wastoid troupe of crystal throats and all-seeing ears are steering Sloow Tapes -and later Sloowax- far away from slick audiophile shark waters, dropping a zillion psych/pickled poetry cassettes in the green-brown puddle called life, all housed in his own eye-popping swirls and twirls just to free your fungi mind. Next to draining alien innards as a member of Innercity, Sylvest Anfang II, Amanita Vulva, Sloowroad, Kutschog Abendrot, Bokrijk, Charles Vögele, Panashiba, et CCCC the bearded oracle from Stekene, BE, also transforms into a human blowtorch solo and unmasked, caramelizing the magic march with merciless but always higher than a Khmer kite guitar slaying, disconcerting gargles, handicapped pork chops as drum sticks and a Korg so abused it is fleeing to the closest shelter for domestic hardware violence. The double whammy presented here stands with both crippled legs in tall tales of local Alvermannekes folklore, Medusas outpouring juices and the grape-blooded joys of unemployment but even if you dont have half a clue whats it all about it will still erect coat hangers for your soul at all airports of Life so you are never again forced to travel along the grand boulevard of plastic pleasure ghettos but can take the meandering bungalow path instead.

Comes in a cloth depiction of the sour-sweet temptresses of the Alvinnenberg, turning revenge and retribution into a crusty handkerchief under your pillow. Limited to 67 hand-numbered copies." - No Basement Is Deep Enough.

"Unissued tapes of acoustic folkpsych from start 70s hippie environment. Moody acid-music with violin, flute, piano, congas, vibraphone, acoustic bass, guitars and drums creating a flowing and dreamy feel. Inspired by Neil Young, Bob Dylan and Ritchie Havens but with a far more experimental side to it. Transgressing jazz and artrock and incorporating Blues and poetry the band shows a broad variety in their selfpenned songs and generel musical approach. Recorded live at a castle in Odense at various sessions between 1972 and 1975. All songs written by Kjeld Andersen, a prime specimen of the Danish singer/songwriter sadly overlooked in his time. De Sydfynske Alpedrenge came out the youthclub "Cirklen" in Odense and was an important part of the underground scene there." - Orpheus.

"Limited hand-numbered edition of 300. NTSC region-free DVD with 60-page paperback book (290mm x 220mm). Ground is an audiovisual performance in which Dewi de Vree and Jeroen Uyttendaele use graphite drawings as a control interface for several electronic instruments, thus rendering the acoustic tactile. Fascinated by ways of rematerializing an increasingly dematerialized and idealized world, they produce work that can be seen as an attempt to approach electronic music in a more intuitive, engaging manner. Using graphite, a material that conducts electricity and is used in everyday variable resistors, they compose drawings that figure as the interface that controls the volume, pitch, and amplitude of the piece. As the drawn lines stretch, intersect, or encounter foreign conductive elements -- such as the hand -- the sound is either modulated or becomes warped. The result is a performance that blends senses together or juxtaposes them, as it creates tension between the unpredictable, aleatory qualities of the graphite and the order of lines that the performers impose upon it, forming the rudimentary score of the piece. The Ground book collects 51 of these graphite drawings, presented with text by Hicham Khalidi, and is accompanied by DVD containing a video recording of Ground performed live by the artists at Studio Loos in The Hague, Netherlands, in July 2014. Jeroen Uyttendaele (born 1981) is an artist interested in sound as a sculptural element and in its relation to light, space, time, and the audience. This manifests as the development of audiovisual instruments, installations, and sound compositions. His works often exploit basic properties of technology, such as conductivity, as tools for expression. Dewi de Vree (born 1983) is a multimedia artist based in The Hague who deals with the sensual experience of physical experiments. Building upon her background in the visual arts and her fascination with the interaction between man and machine, she makes translation machines, sound interfaces, performances, and installations. Examples of her work include works based on the physicality of electricity, electrochemistry, thermodynamics, and electromagnetism. She is involved in the Villa K experimental music venue in The Hague, the Instrument Inventors Initiative (iii), and Proefjeslab, an interactive science show for children created with Arno Verweij. Ground is a co-production of iii and audioMER. made possible by the support of the Creative Industries Fund NL. Camera operated by Takeuchi Toshi. Sound by Matteo Marangoni. Edited by Matteo Marangoni and Jeroen Uyttendaele." - audioMER.

"rough and harsh toned down processed screeching built from chain letter source tapes started by YC. Three tracks in a metallic cassette box. This tape is part of a series of the ongoing Composcila electrics project by Yeast Culture. Snazzy!" - Petri Supply.
"Limited to 100, numbered in handmade art cassette box, sealed shut with electrical wire and CAUTION tape. Features printed metal cassette labels, and color transparency, and color collage inside the box".

"Margaret De Wys is a composer living and teaching in the Hudson Valley region of New York. She has collaborated with artists Joan Jonas, Charlie Ahearn, Glenn Branca, Maryanne Amacher, Rudolf Grey, and Kiki Smith. With Branca she was a founding member of the legendary NYC no-wave group Theoretical Girls." - EP. "This composition developed as a music-centered response to my personal work with liminal states of consciousness that arose in a non-art context generally characterized as healing. Based on casual recordings of my own voice that I made during actual sessions, my soundtrack focuses on sequences of highly stimulated vocalization (excited, ecstatic, etc.), particularly those that seem to embody a unique and intense experience of knowing, something like a direct encounter with vitality. The effects: sound, vision and emotion in the rawest possible state. Truth shot through me like a whistle." - Margaret De Wys.

"Dan Deacon, an electro-acoustic composer/performer living in Baltimore, is part of the Wham City art collective. The compositional style that best describes Dan Deacons music is Future Shock, a new genre being used to describe a number of the bands emerging from Baltimores growing underground music scene. Musically influenced by Devo, Talking Heads, Scratch Orchestra, People Like Us, Raymond Scott and Conlon Nancarrow, Dans music strives to take contemporary experimental composition and electronic music out of the circle of the esoteric intellectual gangs and hipster communities, placing it into the more informal "fun time." His high-energy performances consist of song-structured material performed with Casio keyboard, computer, vocoder and other devices to process his voice, signal generator, etc.
Since May of 2004 Dan has been touring almost nonstop throughout the United States. He has performed with Lightning Bolt, Adult., Cat Power, Matmos, Tracy & the Plastics, Video Hippos, Japanther, MF Doom, The Unicorns, Smog, USAisaMONSTER, Arab On Radar, Rainer Maria, Daniel Carter, The Microphones, Lesbians On Ecstasy, Dead Meadow, Kool Keith, OCDJ, Ghengis Tron, Calvin Johnston, Danielson Family, GZA, Bonny Prince Billy, Diplo, Sightings, People Like Us, Blue Oyster Cult, Rasputina, Wolf Eyes, and many others.
The Baltimore City Paper named him Best Solo Artist of Baltimore for 2005. Dan has performed live on several radio and televison stations, including three performances WMFU and an interview and performance on NBC news.
Acorn Master EP consists of 5 original compositions, 2 of which are instrumental, and a cover of Splish Splash by Bobby Darrin. Psych-O-Path Records will be releasing Spiderman of the Rings full length in Fall 2006." - Psych-O-Path.

"Vinyl only release. Dead Air is essential hard rock for creepy people in the food court. The trio brings to mind pill poppers and school skippers like the U-Men or the Cherubs in attack with an additional double helix sniff. Six tracks straight from the main vein of a grease clogged heart." - Load

"It feels like Ive been writing about Dead Body Love for as long as I have been recording harsh noise. What else can be said? I cant express enough how much of an influence Italian harsh noise has had on my own personal works, but It also lets me and several peers investigate the techniques and styles of the 1990s harsh noise and the atmosphere that was created expressed from different regions of the world. The more I listen and revisit the material of 90s Japanese harsh noise, the 80s UK power electronics, and the celebrated rougher tendencies of 90s Americanoise, the Italian material and different projects flare up that dictate a powerful Coles Notes of harsh noise and how it can be deconstructed and eventually materialized into vivisected lines and layers of crumbling, throbbing, cracking and creaking sound. I always trail back to Mauthausen Orchestra and its insurmountable importance to abrasive sound and its developments, especially in sub sect harsh noise genres of the 2010s... Then you take the obsessions and the lines of moving sound and have them expressed by something like the fanatical Atrax Morgue. Fearsome concentration and jarring meditation on lines of warbling and predatory analog synth work portray something invariably real about the obsession acted out from the Italian project Atrax Morgue. A different display of penetrative and studied sound seethes from Atrax Morgue as now the listener and fan of Italian industrial and harsh noise is confronted with another genre defining sound that pits throbbing and rough synth against haunting and manic vocalizations, disturbing the listener with its undeniable dedicated concentration. The resulting split tape with material from Dead Body Love and Atrax Morgue isnt as black and white as one might think. Dead Body Love makes use of dark and rough early industrial-like lines and meld into the eventual crushing forces that he is known for. In the vein of Atrax Morgue, samples are also manipulated and drawn out for the listener reminding us of his more delay heavy work. Atrax Morgues material works with DBLs material almost seamlessly via further haunting and throbbing dark material, slowly churning and deconstructing into his own distinct sound of heavily concentrated focus and mania for singular sounds and how they can repeat, move and create total atmosphere." - Sam McKinlay.

"With nary a praising documentary, coffee table photo book or tribute band to their name, THE DEAD C are nonetheless one of the most respected, longest surviving groups in the history of rock. Still sporting the original band members (MICHAEL MORLEY on guitar / vocals, BRUCE RUSSELL on guitar, ROBBIE YEATS on drums) from their first assemblage in 1987, The Dead Cs renown has a lot to do with their stubborn unwillingness to compromise in any form. With a varied and challenging discography, the band has never released an album requiring later apology. No The Elder. No Diabolus in Musica. No Trans. Each release demands appraisal on its own merits and exists separate from any temporal trends in underground music, save for whatever influence theyve had on others. Armed Courage reaffirms their epochal career. With two side-long tracks, the record epitomizes the elements which elevate The Dead C to a level of worship. Compositions assemble and pivot, colliding new landscapes while undermining their very foundations. The Dead C exists on an intuitive sphere, with music never over-thought, yet rewarding when contemplated." -Ba Da Bing.

"Following the 2008 release of a pair of double-LPs, Ba Da Bing and Jagjaguwar continue their DEAD C reissue project with two new records. Relegated to expensive fodder for eBay bidders until now, Clyma Est Mort can be considered The Dead Cs "Ed Sullivan moment," except it wasnt performed live on network TV-it was recorded in a practice room in Port Chalmers, NZ, in 1992 with the inestimable TOM LAX of Siltbreeze as the sole member of the audience. Since the goal was to make a "fake bootleg" album for release on the mythical Proletariat Idiots Productions label-and in honor of the 13th Floor Elevators-the band dubbed in fake audience noise from a gig by the Renderers. Despite the deliberate incompetence with which this was accomplished, Clyma is often touted as a "live album." This is only true in the sense that the band members were alive when they made it. This double-LP reissue includes Tentative Power, a collection of non-album tracks many consider among the bands best moments. LP stickered with description." -Ba Da Bing

"The first in a series of DEAD C reissue collaborations between Jagjaguwar and Ba Da Bing, DR503 has been pressed on vinyl for the first time in years, along with the Sun Stabbed EP as a bonus record. Originally released in 1987 (and not to be confused with the releases DR503b or DR503c, which are completely different recordings), DR503 sounded like nothing that came before--a furious pastiche of unrelenting drones, noise and menace. It didnt fit in with the other bands New Zealands venerable Flying Nun was releasing, and it immediately staked a fork in the road, dividing the "New Zealand Pop Sound" from its black sheep brother, "New Zealand Noise." Today, the record still sounds as vicious and vital as when it first went to vinyl, except now perhaps there will be more people ready to appreciate the innovative approach the band took some 21 years ago. This reissue also contains a bonus record of the rare Sun Stabbed EP from the same recording period. With bonus tracks not on the original 7-inch, the recordings from the Sun Stabbed sessions are being released for the first time in their entirety. Release coincides with new album, Secret Earth. Packaged in beautiful gatefold Stoughton jackets." -Ba Da Bing!

"In their first new album since 2003s The Damned and last years double-CD greatest hits behemoth, Vain, Erudite and Stupid, New Zealands The Dead C return with another uncompromising realization of the finest rock improvisation youll ever hear. Future Artists contains five tracks of genius drone and barbarous clashing sounds. From the first track, The AMM of Punk Rock through to the last, Garage, their intensity is unyielding, their inventiveness jaw-dropping. Its been twenty years, and The Dead C show no sign of losing their ability to express the surreal and undefined. Long may they prosper." -Ba Da Bing!.

"In their first new album since 2003s The Damned and two-CD greatest hits behemoth, Vain, Erudite & Stupid, New Zealands THE DEAD C return with another uncompromising realization of the finest rock improvisation youll ever hear. Future Artists contains five tracks of genius drone and barbarous clashing sounds. From the first track, "The AMM of Punk Rock" through to the last, "Garage," their intensity is unyielding, their inventiveness jaw-dropping. Its been twenty years, and The Dead C show no sign of losing their ability to express the surreal and undefined. Long may they prosper. Features a bonus track-12:30 song called The Prisoners."-Ba Da Bing!

"Originally seeing the light of day in April of 1992, Harsh 70s Reality was not just a high water mark for that year, but for the ages. Technically this was the bands fourth long-play outing, and as a double-album, it followed (and was ever so slightly informed by) two formidable juggernauts that preceeded it: Twin Infinitives and Lake. But it was Harsh 70s Reality that left the decade stronger and more resonant than it came in. People say that rock music died with the passing of Kurt Cobain. But THE DEAD C slaughtered it in its sleep with this tremendous set of grinding thud. It is in every sense the ultimate post-rock album. To hear it is to understand why one scribe back in the day referred to their sound as "a garbage truck backing over the abyss." A legendary release from a legendary band on a legendary label. 20th anniversary edition of 1,000, this time with proper gatefold sleeve. Restored to the full length of the original vinyl release (no omitted tracks as on the CD). Fully remastered for optimal volume levels on all tracks-no editing, compression, equalization or normalization; just removal of random, transient, high-level clicks. Includes digital download card." -Siltbreeze.

"Max Harris captures the first recordings THE DEAD C ever made, back in January 1987. Each side displays a different and uniquely raw version of "Max Harris"-reinterpreted both times by a group who can truly say they have never played the same song in any form the same way twice. Anyone who doesnt own one of the original 21 cassette tapes made of these recordings will be hearing them together for the first time. Yes, theyve never been on vinyl before, so maybe one can even say this is the tracks first "real" release. You will be able to feel the slicing tension and drive right through your bones. LP stickered with description." -Ba Da Bing

Repressed. "Recorded during the period September 1999 - October 2000 and mixed in early 2001, this represents the twentieth long player release by The Dead C. Stepping further out into the universe of the song, they have again crafted an antidote for the very idea of rock music. Unlike their double cd from 2000, this release does include vocals, and certain pieces were even showcased at their All Tomorrows Parties show in Los Angeles in March of this year. Stripped and minimal, the sound could easily be referred to as their pre-California period. Morley, Russell and Yeats are currently working on their next release which sets to further extend their investigations into lazy." - Language Recordings.

“This single by New Zealands most overly-prolific trio is taken from the sessions for their upcoming double LP on Ba Da Bing. Forthcoming non-selections recorded live in an empty bar in Port Chalmers, and produced by the band as all their records are. Nothing much changes in the Dead Cs world, it just all happens again and again in the same way. Who could ask for more?
200 copies. Black vinyl, white cardboard sleeve with postcard attached, stamped white labels, insert. Plays at 45rpm.” - I Dischi Del Barone.

"Patience is both appropriate and inappropriate as a title for the latest release by THE DEAD C-inappropriate because its been only two years since the last album, which in Dead C Time is but the flicker of a candle; appropriate since the key to enjoying their sounds is willingness to sit down, listen and let the music take over your mind. These four unforgiving and intense tracks will not be confused with the work of any other band. Recorded in Dunedin over the Southern summer of 2009/10, Patience captures a restless band that never settles into any form. The trio of MICHAEL MORLEY, BRUCE RUSSELL and ROBBIE YEATS makes their improvised music sound like the most substantial ever recorded, no matter in what direction they go. Here, vocal-less, thick and thundering electric drones compound and retreat like a Pacific Ocean of noise. Morley once again provides the artwork and continues in his color palatte of late. Its circular, flowery texture provides the perfect mandala for contemplation while lost within the deep meditations that Patience inspires." - Ba Da Bing.

"Patience is both appropriate and inappropriate as a title for the latest release by THE DEAD C-inappropriate because its been only two years since the last album, which in Dead C Time is but the flicker of a candle; appropriate since the key to enjoying their sounds is willingness to sit down, listen and let the music take over your mind. These four unforgiving and intense tracks will not be confused with the work of any other band. Recorded in Dunedin over the Southern summer of 2009/10, Patience captures a restless band that never settles into any form. The trio of MICHAEL MORLEY, BRUCE RUSSELL and ROBBIE YEATS makes their improvised music sound like the most substantial ever recorded, no matter in what direction they go. Here, vocal-less, thick and thundering electric drones compound and retreat like a Pacific Ocean of noise. Morley once again provides the artwork and continues in his color palatte of late. Its circular, flowery texture provides the perfect mandala for contemplation while lost within the deep meditations that Patience inspires.Vinyl pressing of 1000 copies, includes free digital download coupon." - Ba Da Bing

"Limited to 1000 copies, Relax Fallujah coincides with THE DEAD Cs double-CD retrospective Vain, Erudite and Stupid: Selected Works 1987-2005, also on Ba Da Bing! Side A is brutal, never-released version of "Power" from the bands archives. The B-Side serves up their most famous song (especially after it was covered by the likes of Yo La Tengo and The Rogers Sisters, among others), for those who finally want to hear it on glorious vinyl." - Ba Da Bing!

"The elegance of howling guitar noise was fully realized when THE DEAD C appeared. For over twenty years now, the trio has continually redefined what rock music is and can sound like, and have inspired Sonic Youth, Yo La Tengo, Wolf Eyes, and Comets On Fire, not to mention the current fertile underground noise scene. The Dead C is the ultimate blues band. But rather than departing from the heartfelt singing of the African-American South, they express the tenants of alienation in society with unrelenting force-a focused soundtrack to accompany Knut Hamsun novels, Samuel Beckett plays, and Ingmar Bergman films. MICHAEL MORLEYs monotonic vocal moan anchors the inherent isolation of our modern world--nothing is more earnest, nothing sounds so lost. Along the axis of The Dead Cs recordings, Secret Earth sounds like it was created between Eusa Kills and Harsh 70s Reality. It contains a straightforward (for them) expression of sound, while continually pushing their vast improvisational techniques into a realm of subconscious genius. To coincide with this release, the band will be playing rare, select shows around the US in mid-October. They have not been to the east coast in over a decade, and will be visiting some places theyve never been (cheers, Seattle). LP version coming." -Ba Da Bing!

"The elegance of howling guitar noise was fully realized when THE DEAD C appeared. For over twenty years now, the trio has continually redefined what rock music is and can sound like, and have inspired Sonic Youth, Yo La Tengo, Wolf Eyes, and Comets On Fire, not to mention the current fertile underground noise scene. The Dead C is the ultimate blues band. But rather than departing from the heartfelt singing of the African-American South, they express the tenants of alienation in society with unrelenting force-a focused soundtrack to accompany Knut Hamsun novels, Samuel Beckett plays, and Ingmar Bergman films. MICHAEL MORLEYs monotonic vocal moan anchors the inherent isolation of our modern world--nothing is more earnest, nothing sounds so lost. Along the axis of The Dead Cs recordings, Secret Earth sounds like it was created between Eusa Kills and Harsh 70s Reality. It contains a straightforward (for them) expression of sound, while continually pushing their vast improvisational techniques into a realm of subconscious genius. To coincide with this release, the band will be playing rare, select shows around the US in mid-October. They have not been to the east coast in over a decade, and will be visiting some places theyve never been (cheers, Seattle). In addition, Ba Da Bing is teaming up this fall with Jagjaguwar to reissue their two essential Flying Nun albums from the eighties-DR503 and Eusa Kills." -Ba Da Bing!

"Over the last 17 years, The Dead C have produced some of the most strident, uncompromising and downright nasty rock screech to exit from their homeland of New Zealand, without sacrificing an ounce of the grace and finesse required of tamers of gigantic, wild sandworms. Their eighteen full-length albums and numerous seven-inch singles have garnered worldwide respect from vertebrates and invertebrates alike. The Dead Cs improvised noise rock verges on disintegration with a trademark hazy disorientation, invariably evoking hypnotic and heavy moods. But The Dead C are no bummer. They have always sought liberation from shallow and easy rock conventions; amid the murk of cardboard box guitars, underwater vocals, and ramshackle drumming, a new consciousness emerges. The recognizable, sullen strumming, mumbling and lyrical ennui of painter and educator Michael Morley (also known for his solo work as Gate), anchored by percussionist Robbie Yeats and punctuated by the atonal bursts of writer and Corpus Hermeticum label boss Bruce Russell (also known for his solo work as A Handful of Dust), coalesce in a solid front that mocks the efforts of schmaltz-peddling hacks." - Starlight Furniture.

Gatefold sleeve. "Every time I hear their recordings, Im reminded that they are one of the greatest rock bands to ever pick up a guitar and attempt to play it wrong. Listening to The Dead C causes me to think differently. It brings up emotions with which Im otherwise unfamiliar. It strikes to the essence of my being and reveals what otherwise remains hidden. I take solace in knowing that one out of every thirty of you reading this know exactly what Im talking about. On the spectrum of The Dead Cs sound output, Trouble could very well be seen as springing from the same realm as the massive Driver UFO, one of the bands greatest tracks ever, off Harsh 70s Reality. Theres a youthful aggression here, a churning anger, deadened by pounding drone. Much like H70s, this record serves as a gateway drug -- if you were ever looking for an album to play to a newbie curious about experimental rock, this would be it. The visceral strength of their performance trembles out of the speakers. The magnificence of their stamina survives each album side." - Ben Goldberg, Ba Da Bing.

"With a catalogue that oscillates between subverting traditional song structures and stomping out and obliterating the very notion, New Zealands MICHAEL MORLEY, BRUCE RUSSELL and ROBBIE YEATS have continually made the most crushing, expansive and intelligent rock noise ever to be heard. The trio have been creating the greatest of squalls for twenty years now, and to mark the anniversary, Ba Da Bing is proud to present this double CD retrospective, with tracks hand-picked by the band members themselves, collecting old and new faves and out-of-print rarities. This release serves long-time fans and the curious alike, as chances are few people have heard everything on these discs. The band chose critical highlights as well as material they felt deserved wider exposure. While classics like "Constellation," "Power," and "Bitcher" are present, so are obscurities like "Mighty" from their Forced Exposure 7-inch, "All Channels Open" from the limited, double-disc DC record and "3 Years" from the Xpressway Pile-Up compilation. The real thrill is listening to the bands development over time, from the deconstructed skeletal rock of their early output to the eventual, cosmic marriage of reason and squalor that is as crushing as it is indescribable." - Ba Da Bing!.

"Two of the greatest bands of the present day, each composed of two guitarists and a drummer. Every members name carries its own legendary status. RICHARD BISHOP. BEN CHASNY. CHRIS CORSANO. MICHAEL MORLEY. BRUCE RUSSELL. ROBBIE YEATS. Fabricated empires have risen and been destroyed by the vast output of any one of these guys. Finally, they come together on one release: a split LP between two supergroups. THE DEAD Cs tracks are a gem of a find. The band uncovered recordings nestled in the back corner of their archives that they completely forgot existed. These tracks were under consideration for their seminal album Eusa Kills. The loose majesty found on that album comes to the fore here, with a group finding their wings right as they are set aflame. RANGDA recorded their two compositions at Russian Recording in Bloomington, Indiana. Everything that brings these musicians together uncoils and commands. Beats of silence underscore tangents that lead back to main themes and out again. Its as though the years and years of playing under their collective belts has culminated in these glorious moments." - Ba Da Bing!

"Every time I hear their recordings, Im reminded that they are one of the greatest rock bands to ever pick up a guitar and attempt to play it wrong. Listening to The Dead C causes me to think differently. It brings up emotions with which Im otherwise unfamiliar. It strikes to the essence of my being and reveals what otherwise remains hidden. I take solace in knowing that one out of every thirty of you reading this know exactly what Im talking about. On the spectrum of The Dead Cs sound output, Trouble could very well be seen as springing from the same realm as the massive Driver UFO, one of the bands greatest tracks ever, off Harsh 70s Reality. Theres a youthful aggression here, a churning anger, deadened by pounding drone. Much like H70s, this record serves as a gateway drug -- if you were ever looking for an album to play to a newbie curious about experimental rock, this would be it. The visceral strength of their performance trembles out of the speakers. The magnificence of their stamina survives each album side." - Ben Goldberg, Ba Da Bing.

"Debut release from new Australian label Nervous Jerk (Formally Art School Dropout records). Amazing split lp by New Zealand free noise legends Dead C and local heroes of surreal theatre, world damage and spaced rock The Hi God People. Dead C provide 2 tracks taken from their ATP show in LA 2002. Starts of with a suprisingly gentle and repetitive rock mantra, ends in punk noise, feedback wall of squall - killer! Hi God supply 3 tracks - a mind blinding mix of sermonic atmosphere, space chug, tribal clunk and glorious plunk.
All up a genius paring of 2 of the southern hemispheres finest: Noise, trance, rock, feedback, fun, love and weirdness all wrapped in a stunning silk-screened sleeve by Dylan Mattoral (snawklor, hi god). Local record of the year.... ?" - Synaethesia.
"Pairing of northern suburbs conceptual improv performance art collective and New Zealand noise addicts of a 20 year vintage. the Dead C boil down the top-impact sections of their relentless 2002 LA ATP performance to 18 minutes of brutality. Hi God People take ears on a free form sonic adventure. Limited to 500 copies, each come with silk screened artwork by Dylan Martorell thatll have your mind collapsing at first sight of its intricacies." - Missing Link. Highly Recommended!

"Long awaited debut LP after being the first release on Aarght Records (Eddy Current, UV Race, Super Wild Horses etc) a couple of years ago. I saw their first or second show three and a half years ago and havent missed many since. At the time it seemed everything around me was no-wavey or post-something and these three young men playing powerful, honest-to-god rock music felt like the most ambitious, genuine thing around. Somewhere between your garage punk and heavy pyschedelic rock (Groundhogs, Blue Cheer, Mainliner etc). These dudes feel like my local Stooges/Creedence/Minutemen." - R.I.P. Society

"Its bright and sunny out, the birds are chirping, and summer is in full swing, but in here American Haircut is filling the air with a cold haze of serious downer-vibed psych. No sun in these parts just dead vegitation and an iced over ground where a ghostly voice repeats over and over "You know youre bringing me down." So put on your coat, alter your mind, turn out the lights, and get lost in the nine extended jams that fill this album. DEAD LUKE has released three killer singles (two on Sacred Bones, one on Sweet Rot) as well as a number of tapes, and a collaborative 12-inch with Zola Jesus. This is his first LP. Limited to 500 copies." -Floridas Dying

"The second offering from Dead Luke and the final installment to be included with the box set of records and other assorted ephemera. A two-sider from the warped mind of this Wisconsin home-recorder. Recommended for psychedelic electronic skronk enthusiasts."-Sacred Bones

"Amidst pilfering of collective bargaining rights, the storming of public buildings in union protests, and subsequent recalls of elected officials, a bubbling of proletariat discontent in Madison, WI has shed light on a region of the country often overlooked. Emerging from this unrest comes DEAD LUKEs second full-length and first Moon Glyph release, Meanwhile... In The Midwest, which takes the portentously hazy half-songs contained within his debut LP and solidifies them into a raw, lysergic-crystalline acid cocoon. In the albums final moments we are greeted to the triumphant drifting of "Endless High," a fuzzed-out call to arms for the No Coast. On "God Of Nothing" Luke conjures a hymnal drone of weaving elements peaking into a self-contained nihilist jam. While harkening back to the nebulous "American Haircut," Luke now unleashes his vexed voice in parallel with a movement currently percolating to a once apathetic surface." - Moon Glyph.

"The first of two singles to be included in the Sacred Bones released Dead Luke Box Set (which will include both singles, a four song CD-R, buttons, stickers, and other assorted ephemera). Milwaukee dark sludge from one man. The Troggs cover on this record is a must hear for fans of musical dementia. Handsome hand-drawn Mike Sniper cover art."-Sacred Bones. Repressed, clear vinyl.

"Wisconsins Dead Luke lays down 60 minutes of a-side worthy driving, blown out jams that sound like they were mixed down through a missile command console. Whatever you want to call it, shitgaze, dirtwave, punk from the future... it delivers." -Sky Fi

"Dead Luke is in fact dead, announced last January. This self-titled cassette, released nearly a year ago, was until the announcement his only recorded document. It seems Luke is hungrier in zombification, as he has since released a slew of vinyl and plans for a wealth more. Familiar to the Sacred Bones scene/sound, and released by Florida?s Sky-Fi, the cassette?s thirteen tracks come needled with chintzy synthesizers and dipped in reverb, crashing with an Ariel Pink mad genius, though stuck in some wonderful limbo between painfully simple pop structures and the anti-structure of dark ambient neighbors like Hive Mind and Burial Hex. Drum machines ramble in every direction, and in every configuration; guitars come and go, seemingly tuned then set back down; basslines dread into a funk then relax into broad, warped whir. Vocals are effected until indecipherable, rendering abstract and often obtuse the themes of titles like ?The Thermostat Has Shorted Out?, ?Night Of The Zodiac?, and ?Oh God Make It Stop? - to be read entirely against the music, an often steely gothic of organs, sermoned mutterings, and other loose hairs of modern Americana trash. Strangely it works like magic. Call it ?bright nihilism?." -Jerkwave

"Brand new
LP/one side live at Raven Matts over the winter and another Inzane Studios
inzanity. Full color covers, white vinyl. Killer classy looking thing / horrible
sounds from beyond." - American Tapes.

"DEAD MACHINES is the duo of JOHN OLSEN (WOLF EYES) and TOVA OROURKE (WOODEN WAND AND THE VANISHING VOICE). Together-with the use of handmade electronics, tape manipulation, and blistering volume-they deliver two squirming heaps of drone and moan that is more restrained than Wolf Eyes though less folked-out than Wooden Wand."

"NOW AVAILABLE ON 10-INCH VINYL!!! DEAD MACHINES is the duo of JOHN OLSEN (WOLF EYES) and TOVA OROURKE (WOODEN WAND AND THE VANISHING VOICE). Together-with the use of handmade electronics, tape manipulation, and blistering volume-they deliver two squirming heaps of drone and moan that is more restrained than Wolf Eyes though less folked-out than Wooden Wand."

"Dead Machines is the lovechild of John Olson of Wolf Eyes and Tovah ORourke of Wooden Wand & the Vanishing Voice. John leaves behind the Wolf Eyes angst, yet keeps all of the aggression while Tovah adds her own version of electronic mayhem and magic. To date, most of their releases have been on Johns infamous label, American Tapes, notorious for pressing quantities of two to forty-two in packaging that wont conform itself to your music shelf."

"The a side was recorded at the first No Fun Festival in March 2004 (Brooklyn) and features a little comedy to start with and then things get heavy...and the second side is the very first VG Kids/Wolf Den Ypsi Street Level throwdown....our set was live on a 6 color shirt screen press and Nate brought a fog machine that blasted out the room and into the parking lot night of the VG complex...near the end you can hear people chucklin cause its absurd..that night was also the first "offical" Sick Llama, and MI debut of Failing Lights...great night....DM had a weird 7 small speaker set up on the heads of the press and spun it slighty for that dead-universe dying electronic creeping blast sound....." Printed covers with the back cover featuring a demented John Olson collage - killer!"

"live in columbus early 05, olson on drums and vocals,
tovah on drunk junk box/j-tar destroying.... like no
dead machines youve heard... imagine the drums from
the negative approach 7" being played under some weird
synth tape being slowly mangled and eaten with the
sound of one bass string being detuned and abused and
youre somewhat close to what it sounds like.... one
part everything cuts out and both get into some
seriously twisted screaming type shit, sounds like
they were killing each other up there..... olson in
fine mode talking some punk talk.... rumor in town for
a while was they had a bunch of LSD in their car on
the way to the gig and got pulled over so they had to
eat it all, and i hearing this you could believe
it.... if youre under 18 we need a letter from your
parents to buy this one, lots of anti-cop talk...
dont want another "cop killer" on our hands.....
edition of 100" - Zac Davis, Lambsbread.

"Michigan heavy domestic-electronic couple Dead Machines always create records that confuse and intrigue. They are the forefathers of broken gear / appliance / wind instrument basement jamming and have their niche dug deep. "Invasion" exists on the borders of existence- room ambiance is present, but the sounds are totally alien. Twisting mixer feedback and found sound source into a twisted collage of life outside the "Pod": harsh and awakening, but at times giving way to the trance of the machine lull. Dont fall asleep. In an edition of 450 LPs with full color pro-printed cardboard sleeves with art by John Olson." -Arbor

"Dead Machines is John Olson from Wolf Eyes and his wife
Tovah. They are awesome. They played this past No Fun Fest and have a new
release on Troubleman Unlimited. But you knew that already.
Scientific Explanation of Despair are the coolest dudes ever. Totally
my biggest idols to date. Personally way more influencial and
inspiring then any other band I work with.
Hell I bought Larry a brand new sewing machine so he could package
these in leather and not have to painstaking do it by hand.
This release is limited 166 copies on CD-r in a hand screened,
machine
sewn leather case." - Kitty Play

"Red vinyl, edition of
300. One night last winter, Dead Machines and The Haunting performed a
gig where the sole audience was the other band (and not cause no one
showed up..no one else was invitied). This split LP is a document of
this cold night of Distant Sound. Dead Machines began the night with
possibly their strangest, most obscure set to date. The two players
are Sound and No Sound. More accurately: what I have always thought
the sound of a dying machine would be. The Hauntings set is equally
as slow. Haze fades in and out. Talk about living rooms and fields and
things that are far. Haunting gigs are very few and far inbetween and
this happens to be their first. We all felt kinda weird afterwords,
but it also totally ruled. Like we all had sex or something. Ewww." - Gods Of Tundra.

"Mysterious French outfit The Dead Mauriacs return to Discrepant in full exotic wind force after their sell-out cassette, Cocktails Pour La Fin Des Temps (2016). Beauté Des Mirages picks up on the same themes of frantic, abstract exotica and concrete cocktails the French act is known for. Running for two, long 18-minute sides full of fake(?) vintage atmospheres and armchair jungle hallucinations, Beauté Des Mirages is an abstract journey into a beautiful (and sometimes scary) world of mirages. All perfectly illustrated by yet another mesmerizing artwork collage by US artist Evan Crankshaw." - Discrepant.

"A true Dead Moon classic. One of their most beloved LPs. Features the mega hit Its Okay along with other classics like Day After Day, Cast Will Change, Unknown Passage, and the best version of The Times They Are Changin ever recorded! All hits, no misses on this one. Timeless. Lovingly remastered by Timothy Stollenwerk." -Mississippi.

"Dead Moons 3rd LP from 1990. Another classic with hits such as Not The Only One, Crystal Is Falling, Dagger Moon, Walking On My Grave, Johnnys Got A Gun & Unknown Passage. A perfect record, not for the faint of heart. Remastered from the original tapes." -Mississippi

"Reissued for the first time-DEAD MOONs first record! Originally released in 1988. Dead Moon were a band that existed outside of the constraints that time and style usually impose on artists. An authentic mix of psychedelic rock, punk, blues, country, and every other American music worth a damn. This LP features all time classics such as "Graveyard" ( A 13th Floor Elevators type vibrating psychedelic song), "Dont Burn The Fires" and "I Hate The Blues." Lo-fi as hell. Remastered from the original tapes. We are very proud to make this LP available on vinyl once more." -Mississippi.

"Maybe the hardest to find Dead Moon LP. All kinds of killer songs. Another stone cold classic by the worlds greatest rock band. Some call them the thinking mans AC/DC and some call them the working mans Roky Erickson but really there is nothing that compares to Dead Moon. They live in a world of their own -- D.I.Y on every imaginable level, brilliant song writing, perfect elemental stripped down playing, honest and intense vocals. Its all here." -Mississippi.

"One of Dead Moons all time classics, filled with some of their catchiest and most rousing songs. Rockers of the highest caliber such as Destination X, Fire in the Western World, and Dont Look Back as well as perfect ballads such as You Cant Do That and Out in the Blues. An utter masterpiece of psychedelic rock straight from the heart." -Mississippi.

"2 completely unreleased songs & 2 songs only available on the hard as hell to find 13 Off My Hook European compilation. Altogether 4 killer Dead Moon songs from 1989! Side A features Dont Hate Me & Too Many People -- both quality rock songs. The flip side has the utterly devastatingly beautiful ballad Ill Follow You & the world weary tune Claim To Fame. All not to be missed songs. Picture sleeve with unpublished photos of the band. Its hard to believe these songs did not make the cut for the early Dead Moon LPs." -Mississippi.

"One of their harder to find and more perfect records. An absolute monster of a rocker. Killer high energy songs. Once again DEAD MOON deliver a record of all hits with no misses. Pure as can be. Lovingly remastered by TIMOTHY STOLLENWERK." - Mississippi.

"Dead Moons 2nd LP. Great pop ballads sit side by side with heavy rock songs. A hit laden record featuring classics such as Dead Moon Night, A Miss Of You, 54/40 or Fight, Time Has Come Today, Demona, & On My Own. Originally released in 1989, easily one of the top 4 rock records of all time. Remastered from the original tapes." -Mississippi

"Formed in 1980, in order to show them all! The Schaeffer brothers Josef (bass ) and Manfred (drums) brought Herbert "Lörkas" Langer (guitar) on board, who had recently quit the Punk combo Pöbel. With singer Hannes the first line-up was complete. After the HEINZ NITTEL assassination (city councilor of the social democratic party in Austria who was murdered by palestine group ABU NIDAL on the first of may on his way to town hall) the band name was an obvious choice - DEAD NITTELS (following our musical heroes the DEAD KENNEDYS). The space in the Wiener Gassergasse (referred to as GAGA) offered by the autonomous youth centre was used as a rehearsal room. GAGA soon would become the nucleus of [close] viennes punk. A lot of legendary DEAD NITTELS concerts took place in that time. Their first concert however was a gig as a supporting act for the female punk band A-Gen53. after several reshuffles considering the position of the singer, Christian Koczera, nicknamed Hulk, took over. With him a second guitarist in the person of Michael Neumann, joined the band. In this line-up the DEAD NITTELS recorded the so- called green Kassette AntiNewWaveLiga. CRUDE AND STRONG EURO PUNK!!!" -Rave Up.

""Blast Off Motherfucker! is a reissue of the second of the bands cassettes, the originals likely decaying in the hands of a couple of dozen people. Its been seen fit for vinyl release over a decade later, and its aged right into the times were in, urgent despondence you cant fake. Named in honor of Peter Laughner, they played like Beat Happening as the Dead C., or maybe a more lit up Supreme Dicks or Pink Reason, indie pop songs slowed down to a crawl with thudding toms, all the brightness blotted out with sluggo catharsis. Its fucking wild, is what it is, wide open and leaving nothing to reason (any bands around today with the courage to write a song like ⿿Sodomy. Yes!⿝ please stand up). If youre trying to keep up with as many of these records as you can, this one should go to the top of your list. More reissues have been planned and I hope they see the light of day. Theres only 300 copies of this, theyre cheap, and theyre moving fast. Its somewhat painful for me to listen to this and admit that, as a 20 year old, I probably didnt get it. Kids are fucking stupid sometimes. This one is so good." - Still Single

"Smolken returns to Aurora Borealis in the guise of his perhaps better known Dead Raven Choir project. Since the release of Wolfmanglers Dwelling In A Dead Raven For The Glory Of Crucified Wolves Smolken has settled in Poland, and seriously begun to record as much as possible. Where Wolfmangler is slow and ponderous (compost with a grudge as Julian Cope stated in The Guardian last year) and could perhaps even be described as an obscure branch of Doom, how shall we classify Dead Raven Choir? An altogether noisier undertaking and unafraid of the heady heights of mid-tempo, Dead Raven Choir has baffled, irked and aroused listeners for a number of years now. An unholy cross of black metal and folk? Organically produced noise and scree? Doubtless many a consumer has been outraged by a lazily tagged Dead Raven Choir release, though with the countless CD-R and micro-label releases, there grows a veritable army of supporters, eager to have their preconceptions smashed and ears damaged once more with every hint of new material. My Firstborn Will Surely Be Blind grips the listener immediately and threatens to overwhelm them with its brute force. Clearly there is something to be said for the Eastern Bloc technologies that were so deftly abused, as this is truly a unique sound. Smolken has transcended the avant-garde and moved beyond: ladies and gentlemen, Dead Raven Choir has left the field." -Aurora Borealis

"2nd release from this mysterious tape/echo/vocal wipeout.... a bit more droned out than the earlier cassette release, but still same burned vibe.... maybe if the other one was the sound of waking up in pain from smoking too much weed the night before, this one is the sound of what happens after that pain has already been killed with a heavy early morning session.... edition of 50" - Maim & Disfigure.

"What attracted me to this band on first sight ⿿ trained in the ⿿school of error⿝ as practised by Maher Shalal Hash Baz and all those other naive orchestral delights, accomplished keyboards man Leighton Craig of the firm belief that where drummers went wrong was when they first started crossing their arms over ⿿ is what still attracts me to them: belief, brevity, melody, resonance, a fondness (acquired from having lived through it) for the early 80s post-Go-Betweens/early Fall mannerisms of derelict Brisbane nightclubs. Stuart Busby not only wields a trumpet like Brightons own Alistair Strachan (Hamilton Yarns, Crayola Lectern) but understands the absolute necessity of controlling (or not controlling) the sound. Guitarist/drummer Eugene Carchesio ⿿ an accomplished, exhibited visual artist in his own right ⿿ much favours the ⿿play once, move on⿝ approach to creating and inventing new songs that cant help attract simple me. One of Eugenes favourite musicians is Jad Fair. How can I argue with that?
Im reminded of Monks, Moondog, 4 Gods, Flipper.
Too often noise musicians deliberately eschew melody ⿿ as if to admit for a fondness for such is a weakness. The Deadnotes are as unreconstructed and wilfully abstract as the most experimental among us, but at the heart of the music is (usually) a melody, a structure, a beating heart." - Everett True

"Its hard to believe that six years have gone by since Deaf Centers Pale Ravine hit the shelves. In the time thats passed, the distinct melodies of Norwegians Erik Skodvin and Otto Totland have become almost synonymous with a specific shard of mysterious imagery so it feels high time that the duo should return to add a new next chapter to their shadowy story. In contrast to Skodvin and Totlands previous work, Owl Splinters was recorded in a studio setting (Nils Frahms Durton studio, to be exact), and the lo-fidelity, haphazard techniques of their early recordings are now all but gone. With the benefit of some high-end engineering and analog equipment, Skodvin and Totlands murky compositions have been transformed from sketches into glorious widescreen spectacles. The blackened, scraping tone of Skodvins strings ring out on the albums opener "Divided" before seismic bass drones push up from beneath with a cacophonous, earthy clarity. This is the same Deaf Center we fell in love with all those years ago, but bigger and more powerful than ever before. Between these epic compositions, the two musicians take time to give their own solo instruments the time to breathe -- Totland on the piano and Skodvin on the cello. These small vignettes are crucial to the overall narrative of Owl Splinters, allowing a crack of sunlight through the oppressively bleak atmosphere. Everything slots into place on the albums centerpiece "The Day I Would Never Have" -- piano and cello tumble into each other, forming a dense, affecting cloud of sound. Echoes of half-remembered horror movies, love songs and the dark arts come together in a Norwegian cauldron to reveal something that at its heart is deeply moving and beautiful. Deaf Center are back, and Owl Splinters might just be their most defining statement to date. Includes a bonus CD of new interpretations of the album from Erik Skodvins Svarte Greiner project." -Type

"A 30th anniversary re-release of the 1981 7-inch from St. Louis power pop group DEAR JOHN. The band only lasted a couple of years, but they managed to release on regionally acclaimed 7-inch on their own A.K.A. records. The single has been a tough find for collectors. These are the original pressing found in storage packaged in new sleeves." -BDR

“Deas is the new moniker of London-based guitarist Cameron Deas, and String Studies, his first LP of all electronic-based material, is unlike anything else hes released. Recorded at home between February and March of 2014, the 8 pieces on this LP were recorded live with very few overdubs, with Deass 12-string acoustic guitar used as a sampling source to trigger and in turn be manipulated by a modular system. The immaculate production and scalpel-sharp twists and turns found within the music display a remarkable level of confidence and intuition in Deass new process, which makes it difficult to believe that this is his first documented work within the electronic medium. Mastered by John Hannon at No Recording Studio.” - Alter.

"Fantastic new LP from Cam Deas, which was issued in a tiny run CDR for his recent Euro tour with Jack Allett earlier this year. This is a slightly different release from the previous LP and split LP with Spoono, essentially this one being a long improvised acoustic freak-out. Loose frequent and infrequent twangs to pure whirlwinds of aggressive string assaults and finger shredding plucking. This still retains Cams signature traditional playing somehow, especially the more intense heavier moments. A solid recording. Limited to 500 copies on heavyweight vinyl in pro-printed fold over covers with photography by Cam and printed labels. Pressed at the superb Record Industry in the Netherlands." - Blackest Rainbow.

"I am very pleased to be releasing the debut LP from Sheffield-London-Brighton guitar master, Cam Deas. This follows his two long sold out CDRs on Blackest Rainbow, and proves once again that he is off the chain! OK, so theres always gonna be the immediate comparison to James Blackshaw, but the sound is different, more aggressive almost and raw... this guitar playing has an edge -- its deep and its powerful. The LP consists of three tracks, the A side is an epic, almost 20-minute piece entitled The Waters Of Kvaloya recorded by Ben Nash. The B sides and albums title track begins with almost a minute of near silent distant drone that develops with stomach-wrenching string twangs. The closing piece is As Spring Fell From The Leaves, which was originally issued on the For The Silver Waters, Sing! CDR last year on BR, but has been considered by people whove bought his releases and seen Cam live as possibly one of the best things he has composed. Total genius, with a real blissful, but eventually dark, vibe. This track definitely deserved to be put on wax. Mastered by Ben Nash. Limited to 300 copies." -Blackest Rainbow

"Limited edition tour LP for their upcoming joint tour across Europe. One side for each of these amazing UK guitarists. Cam has two tracks, one beautiful long guitar piece followed by an insane electronics track, that sounds almost like Autechres more weird static work. Spoono is Jack Allett who is also half of Towering Breaker. His side consists of three incredible tracks that will no doubt prick up the ears of fans of Jack Rose. Limited to 350." -Blackest Rainbow

Artist: DEATH
Title: For The Whole World To See
Format: CD
Label: Drag City
Country: USA
Price: $14.00

"Their time in the studio was overseen by engineer Jim Vitti, whose work with Parliament/ Funkadelic seems to have informed his decision to record Death in raw fashion with little polish, showcasing the organic power relationships within the trio. The songs recorded there make up ?For the Whole World to See, which today blasts from the speakers as a fresh and inspired early entry in the category of punk rock. Death had a single pressed, Politicians In My Eyes b/w Keep On Knocking, selling them at their shows and on the street. Things werent really going anywhere when they heard from Columbia Records president Clive Davis. He was interested, but he had one demand -- theyd have to change their name. David, acting as the bands leader, would have no part of it, a decision that ultimately brought an end to Death. Moving to New England, David, Bobby and Dannis reconnected with their faith, forming the Christian rock-n-roll band The 4th Movement, whose self-released early-80s album joined Deaths 45 as a sought-after obscurity for the next generation. 2009 is the time that Death is finally here ...For The Whole World to See. ...For The Whole World to See is the first full-length release EVER for the band called Death -- with only one 7" single to their name, and that usually goes for about a grand per. Thats $1000! For those who do have the single, the remastered sound here will break you up." -Drag City.

Artist: DEATH
Title: For The Whole World To See
Format: LP
Label: Drag City
Country: USA
Price: $16.00

"Their time in the studio was overseen by engineer Jim Vitti, whose work with Parliament/ Funkadelic seems to have informed his decision to record Death in raw fashion with little polish, showcasing the organic power relationships within the trio. The songs recorded there make up ?For the Whole World to See, which today blasts from the speakers as a fresh and inspired early entry in the category of punk rock. Death had a single pressed, Politicians In My Eyes b/w Keep On Knocking, selling them at their shows and on the street. Things werent really going anywhere when they heard from Columbia Records president Clive Davis. He was interested, but he had one demand -- theyd have to change their name. David, acting as the bands leader, would have no part of it, a decision that ultimately brought an end to Death. Moving to New England, David, Bobby and Dannis reconnected with their faith, forming the Christian rock-n-roll band The 4th Movement, whose self-released early-80s album joined Deaths 45 as a sought-after obscurity for the next generation. 2009 is the time that Death is finally here ...For The Whole World to See. ...For The Whole World to See is the first full-length release EVER for the band called Death -- with only one 7" single to their name, and that usually goes for about a grand per. Thats $1000! For those who do have the single, the remastered sound here will break you up." -Drag City. Repressed.

"Since the discovery of Death in 2008 and the release of the archival LP ...For the Whole World to See, the story has been often told. Three African-American brothers, David, Dannis, and Bobby Hackney, tapped into the surging energy of their hometown rock-and-roll scene (mid-70s Detroit) to produce a style and a set of songs that, while completely unappreciated in their day, proved later to be a powerful missing link in the evolution of punk rock. The question always asked was, Will there be a new record? Now, there literally is, and Death and Drag City are proud to bring it to you, titled simply N.E.W. Inspired by the positivity brought to them by ever-increasing numbers of new fans, the current performing Death (Bobby Hackney, Dannis Hackney, and Bobbie Duncan) completed several songs started back in the late 1970s by Bobby and David, and composed entirely new songs that continue the timeless vibe, feel, and resolve of Death with remarkable drive and vigor. For many years after disbanding the original Death, Bobby and Dannis played different styles of music, but with the same deep spiritual investment. Bringing that spirit back to Death, their ability to make new songs in the same vein is fantastic." - Tryangle.

"Since the discovery of Death in 2008 and the release of the archival LP ...For the Whole World to See, the story has been often told. Three African-American brothers, David, Dannis, and Bobby Hackney, tapped into the surging energy of their hometown rock-and-roll scene (mid-70s Detroit) to produce a style and a set of songs that, while completely unappreciated in their day, proved later to be a powerful missing link in the evolution of punk rock. The question always asked was, Will there be a new record? Now, there literally is, and Death and Drag City are proud to bring it to you, titled simply N.E.W. Inspired by the positivity brought to them by ever-increasing numbers of new fans, the current performing Death (Bobby Hackney, Dannis Hackney, and Bobbie Duncan) completed several songs started back in the late 1970s by Bobby and David, and composed entirely new songs that continue the timeless vibe, feel, and resolve of Death with remarkable drive and vigor. For many years after disbanding the original Death, Bobby and Dannis played different styles of music, but with the same deep spiritual investment. Bringing that spirit back to Death, their ability to make new songs in the same vein is fantastic." - Tryangle.

Artist: DEATH
Title: North Street / Were Gonna Make It
Format: 7"
Label: Drag City
Country: USA
Price: $7.00

"Death III is coming! In advance of the release of EVEN MORE previously unreleased recordings from the vaults of DEATH, the two songs here represent the album in showcasing two different eras following For The Whole World to See. "North Street" was recorded in 1980, as Death was transitioning into their next incarnation as The Fourth Movement. The song was part of a studio session in their new home base in Vermont, capturing the HACKNEY Brothers full-bodied sound with the same fidelity of their 1975 recordings that made up For the Whole World to See. The B-side is a special song that represents some of the last music David Hackney ever recorded." - Drag City.

Repressed. "Spiritual-Mental-Physical is a collection of wild early DEATH demos, presenting the three young HACKNEY brothers consolidating their powers as they embark on a trip into pure rock and roll music. For many years following the emergence of punk rock, nothing changed. Punk bands either signed contracts and played the rock band game or they lived in a world parallel to the world of commercial rock and roll. Farther along came "the year that punk broke," a puzzling decade and a half after the whole thing had first been absorbed into the mainstream in the last of the 1970s. And so it was. The books were written; the pronouncements made. Then came news of Death. Theyd self-released a single in 1976; the tracks made it onto an unheard punk compilation a couple decades later. In 2008, an obsessive young man tracked them down and found that the surviving two brothers had master tapes from all those years ago. These made up the truly senses-shattering album...For The Whole World To See. Suddenly, the book was open again and the history of punk rock needed to be rewritten to include Death. The sounds on ...For the Whole World To See are those of young men, scorching their influences in the process of becoming new. Spiritual-Mental-Physical gives us Death by transistor radio, with a tinnyyet- furious sound representing the 1970s environment of Death. Here, the musical landscape that inspired them is more clearly defined as they demo material that didnt make it to the studio, but shares the same ferocious bent as "Politicians In My Eyes," "Keep On Knocking," and the rest of ...For the Whole World To See. Spiritual-Mental-Physical is an inside look at Deaths early days, one that fans of the group and fans of punk rock (and, indeed, rock of all kinds) are sure to enjoy for the rest of time." -Drag City.

"Spiritual-Mental-Physical is a collection of wild early Death demos, presenting the three young Hackney brothers consolidating their powers as they embark on a trip into pure rock and roll music. For many years following the emergence of punk rock, nothing changed. Punk bands either signed contracts and played the rock band game or they lived in a world parallel to the world of commercial rock and roll. Farther along came the year that punk broke, a puzzling decade and a half after the whole thing had first been absorbed into the mainstream in the last of the 1970s. And so it was. The books were written; the pronouncements made. Then came news of Death. Theyd self-released a single in 1976; the tracks made it onto an unheard punk compilation a couple decades later. In 2008, an obsessive young man tracked them down and found that the surviving two brothers had master tapes from all those years ago. These made up the truly senses-shattering album ...For The Whole World To See. Suddenly, the book was open again and the history of punk rock needed to be rewritten to include Death. The sounds on ...For the Whole World To See are those of young men, scorching their influences in the process of becoming new. Spiritual-Mental-Physical gives us Death by transistor radio, with a tinny yet- furious sound representing the 1970s environment of Death. Here, the musical landscape that inspired them is more clearly defined as they demo material that didnt make it to the studio, but shares the same ferocious bent as Politicians In My Eyes, Keep On Knocking, and the rest of ...For The Whole World To See. Spiritual-Mental-Physical is an inside look at Deaths early days, one that fans of the group and fans of punk rock (and, indeed, rock of all kinds) are sure to enjoy for the rest of time." -Drag City

"Over the course of various releases, the self-titled debut Death Blues (Hometapes/Taiga), Here (Rhythmplex), Non-fiction (SIGE), as well as the text only Death Blues manifesto, drummer and percussionist Jon Muellers Death Blues project has used sound, performance, and concept to explore ideas around presence and experience. This work culminates in the release of Ensemble, an elaborate book/LP/digital release that features seven essays about our vulnerability, the rawness of our inner lives, and how we move forward in the face of it all. The audio is an elaborate orchestral soundtrack crafted by Mueller and composer/multi-instrumentalist William Ryan Fritch over the course of two years. Like the essays, the music exemplifies complex emotional and textural layers via strings, woodwinds, percussion, and wordless vocals, ranging from cinematic and dreamful to thundering and powerful over the course of its nine tracks. Late artist Lillian Rammels hand-made masks from the 1970s are featured throughout the package, symbolizing inward and outward perceptions. The combination of audio, text, and visual create an immersive and broad experience. This is work about people, for people. Ensemble comes packaged as a deluxe 16pp hardback full color book with a 140 gm LP." - Rhythmplex.

"sweet vinyl debut from the mighty fine death chants, releases on the bands own new label. if you tuned into any of their great self released cassettes, or either of the time-lag cdrs, you pretty much know the deal. in a pretty mellow smoked-out drift mode here, the a side is sunny strummed acoustic guitar mantra with bubbling modular synth bleeps, distant buzzes & drones, occasional noisy bursts and half slurred wordless vocal. the b side is less songy with sweet drifting keys, thick viola drones, ebow guitar hum and an ultra peaceful ambiance very sweet stuff. perfect baked summer evening porch music. heavy moss colored art board covers, with black offset printed art by nemo. limited / numbered edition of only 320 copies." - Time-Lag.

"Amazing psychedelic side project by forward thinking members of Japanese hardcore band CROW. Full on psych gush meets heavy metal float with stops in side long industrial synth breakdowns and holy vocals. Their prior release named checked Amebix, Antisect, Crude SS, Flower Travellin Band, Diamanda Galas, Ash Ra Tempel, Bodkin, Amon Duul and German Oak and was dedicated to dedicated to Ed Gein. Nothing seems to have changed. Beautifully packaged in a thick full color tip-on sleeve this is a "bedroom find" from an edition of 444 copies."

"Death Domain aka Adam Stroupe is a science nerd from Baltimore and wears it as a badge of honor. His sound is undoubtedly one of the most bewildering, disorienting yet magnetic and infectious slices of downright bleak takes on synth-based dance music. A one man all-live-analogue electronic ice machine (who is also behind the likes of SIDS - Sudden Infant Death Syndrome). His sound is as cryptically raw as it gets - summoning the seminal Industrial/EBM sounds of the likes of early Cabaret Voltaire, Skinny Puppy, and The Normal. Limited to 400 silk screened, hand numbered copies with 4 different covers that feature a different glow-in-the-dark letter of each base pair of DNA: A,C,T,or G." - Dark Entries.

"The flip side of the Christmas coin is the loss of Olson to what must
be a super interesting and awkward explanation of "Inzanity" at Tovah
D-Days family Christmas gathering back home. The ugliest 2/3rds of
Graveyards put on the chain-mail and cocaine and invite Gustav Mahler
to the party. He hasnt been putting out much shit lately so they
figure a little r&r for composer corpse will suit him just dandy. He
wrote a nice Detroit drama chamber piece just for the occasion." - Editionsbrokenresearch.

"Between 1982 and 1984 Death Magazine 52 played around 20 shows mostly within the Black Country region of the U.K. Sometimes they played under the name Spontaneous Human Combustion which was the moniker they originally started out with. These recordings capture the core group and its floating membership at various stages of their existence. Recordings from the studio sessions and live sets, including playing to a school hall full of teenage girls at 3pm one afternoon, and as the final band to play at the legendary Equinox Event before the plugs got pulled and the police arrived. The recordings are of a raw nature and should be considered as historical documentation. Features a pre-Con-Dom Mike Dando on 2/3s of the material, guest vocalist spot from Philip Best. The full DM52 story will be featured in As Loud As Possible #2." - Harbinger Sound.

"Fans of Gary Wilson and/or Nudge Squidfish as well as people who do bong rips of cooked vicodin will love this three-piece of malcontents. They started a decade ago as a teenage japanese-style hardcore combo, and then somehow transformed into an equally antisocial group of adults engaged in loud macabre instrumental electro in the lineage of Throbbing Gristle, Klaus Schulze, and Kraftwerk. Or as 20jazzfunkgreats.co.uk put it, "Somewhere in between Blues Controls single-headed psyche and Hyperdubs future Giallo OST where this Carpenterian bass-heavy creeper crashes". Completely Dusted is their moment. Long-labored, and worth the wait. Commence downer party now! " - Columbus Discount. Now in full color, printed jackets. Highly recommended!

"From 1995 to 2004 Jonathan Canady led the classic American power electronics band Deathpile, which culminated in the 2003 release of G.R., the bands final album. Co-released by Force of Nature Productions and Hospital Productions, the album instantly set a new benchmark in extreme music, providing a fully realized, investigative, confrontational intensity, while exploring the perspective of the perpetrator, in this case one Gary Ridgway. Longtime industrial and experimental musician David E. Williams provides masterful analogue synth work alongside Canadys devastating vocal performance, which stands as one of the most powerful in all of extreme musics history, a testament to controlled chaos and full immersion into the most challenging of subject matters." - Hospital Productions.

"DEATHROES is GERRITT and SIXES. Total Auditory destruction by these
west coast veterans debut collaboration LP. Dark psychedelic drone,
walls of sounds, electronic impossibility. Tectonic plates shift and
rain of lava annihilates ones own soul along with everyone elses.
Enligthment and new death-born feelings combined with hallucinations
so sharp and vivid that they lead to the disintegration of all senses.
Salvation, elation, Truth?-no, only the final expense! Split Release
with Misanthropic Agenda. Limited to 500 copies." - No Fun.

"Finally a legit reissue of this mid-70s American monster. Although "discovered" pretty early on within the realms of private press mania, this album has never quite reached the hysterical peaks achieved by other strange artifacts of this era. Very detailed reissue work on the part of Anopheles, whove turned this out as one of the most finely detailed and richly presented documents of its type." - FE. "This legendary group from Chickasha, Oklahoma formed in 1975 and self-released their lone LP in 1976. A Dada/punk/psych masterpiece recorded in just under seven hours in Dec. 75, the LP and the individuals who created it have long been the subject of a great deal of mystery and conjecture due to their elusiveness, the mindblowing quality of the music as well as the provocative negative image bondage LP sleeve design. This expanded reissue includes all 11 original LP tracks in sparkling fidelity from the original master tapes along with 10 previously unissued rehearsal recordings (total time just over 76 minutes). Fully authorized by the band, this CD also features a 28 page booklet with rare photos, lyrics, and personal accounts by all three original members, including bassist Chuck Iveys tale of relocating to L.A. to participate in the nascent Dangerhouse punk scene, where he took the stage with the Randoms at the Masque benefit in Feb. 78. The Debris LP was also namechecked in Nurse With Wounds infamous listing of influential LPs included with their first album in 1979. In short, Debris cultivated its own dynamic musical vernacular, showing the influence of Captain Beefheart, the Stooges, early Roxy Music and other pre-punk mainstays of the time. Their closest contemporaries were Hearthan era Pere Ubu, Siren-era Chrome, Indiana-era MX-80 Sound and Canadian sonic miscreants Simply Saucer. The beautifully raw and untamed bonus cuts include two unreleased originals, five alternate takes to the LP tracks, covers of the Stooges Real Cool Time and John Cales Gun, as well as Other Things, a song originally recorded by Debris precursor group, Victoria Vein and the Thunderpunks." - Anopheles.

"Anopheles Records is proud to announce a reissue of this 1975 Oklahoma outer limits psych-noise proto-punk extravaganza. This edition features the complete 1976 self-released LP from the original master tapes, with original artwork, a new insert and a previously unreleased (and amazing!) November, 1975 practice take of the Stooges "Real Cool Time" (an earlier, radically different recording to the CD version)." - Anopheles. Sealed, 2008 black vinyl edition.

"An album of incredible archival recordings by Brad Laner and Jim Goodalls 1980s noise orchestra. Featuring many other LAFMS
superstars such as Rick Potts and Joseph Hammer , along with several unknown secret San Fernando Valley noise geniuses. An albums worth of epic spontaneous compositions created with tape recorders, short wave radios, cheap synths, random orchestral instruments and circuit bent gear and all unleashed in front of an unsuspecting audience.

"...we opened for WALL OF VOODOO and successfully pissed off 1000 screaming New Wave assholes"

Starting out back in August 1981 as Brad Laners solo project and self-confessed "pretentious art phase". It wasnt long before
he started bringing friends , most notably Jim Goodall and Spencer Savage, and other players in and over the following years
DEBT OF NATURE would expand into a much larger ensemble. Its those larger ensembles that are captured on this album with live recordings caught throughout the bands final two years. These tracks were originally programmed with a four 7" boxset in mind, but the flow of the pieces works just as well on the 12" format here.

Even though they only released a small number of cassettes throughout their lifespan, mostly on ARPH and Laners own Party Sound Tapes label. They appeared on numerous seminal Noise and Punk crossover compilations that emitted from Californias west coast on labels such as the Minutemens New Alliance imprint, New Underground, and Trance Port. Later other work appeared on Anomalous Records.Over the five to six years they existed the band played many shows throughout Los Angeles and up into the Bay Area.

DEBT OF NATURE is the starting block for both Laner and Goodalls musical trajectory that has now spanned three decades and taken in many points along the way. Both players recently resurfaced with a reformed MEDICINE , a band they formed who released material via Creation Records and Rick Rubins American Recordings. Prior to that they could be found alongside LAFMS mainstay Rick Potts and others in the STEAMING COILS. Laner was also a major player in FOURWAYCROSS and could be found at times in SAVAGE REPUBLIC, NERVOUS GENDER and many others.Jim Goodall would record for a number of years under the alias of D.D.DOBSON and his violent electronic works can be found on numerous experimental noise labels. He also played as a member of WHITEHOUSE during their comeback tour of the USA during 1993.

Brad Laner was also a major contributor to the legendary experimental music magazine UNSOUND which will be the subject of an extensive feature in the forthcoming As Loud As Possible #2 magazine. A second DEBT OF NATURE album capturing the bands earlier years is scheduled for release on Harbinger Sound sometime too." - Harbinger Sound.

"Deca (Federico De Caroli), composer and musician graduated in piano for over 30 years, is a protagonist of the Italian electronic and experimental scene, approaching other fields such as theater, multimedia, and television. A great summoner of dream suggestions, he started with the lessons of cosmic school, arriving at a personal alchemy of tradition and innovation, clutching the paradigms of artificial sound on the natural one. He began playing in 1975, and in 1983 he bought his first synthesizer, starting a long process of creative evolution, playing in parallel bands that are inspired by the British new wave, with such bands as Joy Division, The Cure, and Killing Joke, and studying the dynamics of synthetic sound. In 1985, he began his solo record productions career based on linear sequencer plots and minimal compositions that refer to already famous authors of electronic music, like Jean-Michel Jarre, Kraftwerk, and Vangelis, and the so-called kosmische music of Tangerine Dream and Klaus Schulze. Mass was produced in 1987/1988 with a Roland synthesizer and it was only distributed on cassette in limited edition. It is a more rhythmic album than his other works of the time, and ranks as the third of his discography, after the very collected Alkaid (1986) and Synthetic Lips (1987). It is a dark and minimalist electro-wave album comprised of states of strongly dark and distressed moods. The cover art, as for all his albums, was created by Deca." - Mondo Groove.

"CD in "mini-LP" format with 12 page booklet containing group historical information. Lettered series of 26 in special packaging, each with unique art - signed by the artist. Numbered Series of (474). Contains (4) previously unavailable tracks. For our first release, we selected horNetZ by the Decayes. Underground, maverick, and DIY to the extreme, this recording combines diverse avant and RIO influences with giddy and edgy experimentalism. We are proud to re-issue and preserve this slice of playful (yet serious!) weirdness for the benefit of the fans of this band and related material. Mind"s Ear Records (MERe) was formed to assure the continued existence of certain materials that were in danger of being lost to the listening public. The Landmark recordings are standouts from the underground music scene that have been rescued from obscurity, or, to quote William Burroughs: "to freeze-dry the edifying spectacle for posterity and export". Our interest is partially selfish. These recordings are hard to find and expensive. Moreover, the originals were done on a "shoestring", so the art, packaging, and information contained in them is - to use a kind word - minimal. What we wanted to do is re-present these recordings with the care and feeding they deserve: as quality artifacts from maverick artists." - Minds Ear/Imgrat.

"Cassette-release in an edition of 400 copies only. A close study of the harmonic composition of a Hammond organ and a sruti box with attention given to the organization of isolated frequencies and the effects of these vibrations on brain activity. Deceh writes: "Once four, three no more, now were up to two. Dear old friend, must this end, before we start anew?" Deceh is an anonymous duo including Eleh." -The Tapeworm

"Limited edition of 400. Handmade letterpressed covers. Deceh is a fine drone quartet utilizing traditional ethnic drone instruments as well as vintage analog synthesizers. This record was recorded on a centered room microphone as the group sat in a perfect square around it. This method of recording perfectly captured the focused intimacy of the moment, complete with the crackling bellows of an ancient harmonium. Bringing strict discipline, control and patience, theyre able to achieve densely transcendental focus in their work. Imagine taking three notes from Terry Riley and stretching them out into pulsating 20 minute sublime pieces. An obvious reference point might be the Yoshi Wada Earth Drones reissues but somehow even more transcendent. Fine drone. Acoustic & analogue. Deceh." Hand-numbered edition of 400 copies with insert. -Important

"Split release between Total Life and Deceh. Pressed in an edition of 500 copies and housed in screen printed, hand numbered jackets. Kevin Dorias work as Total Life precedes his work as half of Growing but continues to evolve. Fader is no exception. Decehs contribution is an extended harmonic magnification of a shruti box, Hammond organ, upright double bass and modular synthesizer." -Important.

"Jean-Pierre Decerf was born in the Paris suburb Neuilly-sur-Seine in 1948, lived in Paris until 2003, and now lives as a hermit in a remote village in the Touraine. From the early 70s to the mid 80s, this self-taught musician composed about 20 albums of production and library music with generic cover art and titles (Out of the Way, Keys of Future, Pulsations, etc.) that evoke interstellar travel. These experimental discs, made with love, humility, and rudimentary means, had no ambition other than to accompany other peoples images. By exhuming these obscurities from the dustbin of history, Born Bad Records have decided otherwise. Archaeologists with an agenda, they seek to give Decerf the renown he deserves: that of an innovator whose rhythmic, synthetic compositions inspired the harbingers of the French touch (Air comes to mind), and were sampled by many East Coast rappers, including the Wu-Tang Clan." - Born Bad.

"Recorded in 1978, the instrumental El Poeta Del Ruido by Decibel could be labeled a prog album but dont expect it to sound anything like Yes! This is more in the spirit of Art Zoyd, Univers Zero, Henry Cow, Faust, and Gong, which is to say, quite experimental, a bit dark, complex, and generally highly-structured (though its also sometimes deliberately disjointed). Classical instruments form an important part of the groups sound, but it is augmented by interesting sound effects and there are extended moments of space-y electronic exploration. Masterfully executed, this album is a compelling listen from beginning to end. Tracks include "El Poeta del Ruido," "Orgón Patafísico," "El Fin de los Dodos," "Manatí," and "El Titosco" and more."

Self released LPs from Pat Murano (No Neck Blues Band, K Salvatore, Malkuth, etc..).
"And Here in Aries, birthed in a union of Hei and Dalet, Behold!
Brought forth with the taste survival on its lips
Where this taste emerges as the only absolute desire
that remains immune to a war waged on the bondage of need
Synthetic meditations on the zodiac as envisioned by Decimus Magnus Ausonius (310-395). First in a series of twelve Decimus lps.
Hand painted and Stenciled edition of 300 lp released by Kelippah Records
"Multis terribilis timeto multos"" - Kelippah.

"No-Neck Blues Band member Pat Muranos work as Decimus has been a prodigious endeavor to dissolve the ego and conventional notions of form from the creation of music. His latest effort for Further Records, Decimus 10, continues Muranos rigorous yet freewheeling cavalcade of bizarre sound events that baffle and beguile in equal measure.
The 21-minute A-side is a fungal, fractured, dream-fever soundtrack that makes the Italian horror-flick scores of Goblin sound like Danny Elfman hackwork. Seemingly recorded in the same infernal warehouse in which some of the stranger Smegma opuses were laid down, this piece leaves flaming shards of audio surrealism caroming around your uncomprehending brain.
The 20-minute flipside begins like a minimal techno banger being smothered in its motherboard. Soon it morphs into a subtly horrifying hologram of ruptured ambience that will get Demdike Stare fans knees a-tremblin. In Decimus transformative hands, gothic music comes off as something far more disturbing than its usual cartoonish pantomime. The track trundles to the finish line almost how it began, but with more striated squeals of unknown origin. You may want to sterilize your headphones after listening to it, because music this disturbing leaves enduring residue.
Shapeshifting enigmatically with twisted inspiration, Decimus 10 radiates a nether-zonely beauty." - Further.

"Pat Muranos Decimus project has been all over the map in the past few years, undertaking a massive effort to put out a series of 12 albums in accordance with the zodiac of Decimus Magnus Ausonius. Previous to this, Murano was perhaps best-known as one of the founding members of No Neck Blues Band, K-Salvatore, and Malkuth, but it is with Decimus that the full story finally unfolds. With 11, Murano is going schizo and taking you down a hellish aural rabbit hole, deep into the abyss. Digitalis is not exaggerating when they say this might be the weirdest record they have ever put out. 11 opens with layers of looped, rusty-sounding strings mashed together with slowed down, death-rattle vocals. With buried crunch rhythms peeking out from the morass, the whole effect is like wandering through a funeral procession through a post-apocalyptic metropolis. Everything moves rapidly until it doesnt. Murano slows things to a crawl, pushing the demonic howl under a pane of glass. Blown-out minimal beats emerge to carry the bones along, but it feels like the worst is inevitable and theres no place to go but down. And thats when Murano pulls the rug out from beneath. Solemn guitar chords are plucked like feathers, mourning the loss of the sun but never losing faith entirely. Of course, thats just a tease because just as abruptly as it appears, the section is destroyed and replaced by sharp synth stabs and manipulated tribal death marches. Everything has a crunch to it. 11 sounds like an album that was found in a sandy tomb. Its simultaneously ancient and still looking forward. The whole album is so disorienting and disfigured that its oddly beautiful. The thing about this installment in the Decimus saga is how much of a story it tells. Murano deftly jumps from one chapter to another, throwing so many ideas and styles into the cauldron and spitting out something that flows like magic. This is the soundtrack for modern times, in all its ugly glory. Cut to vinyl at Dubplates & Mastering, Berlin. Artwork by Tiny Little Hammers." -Digitalis.

"PLANAM presents you the new Pat Murano solo project of abrasive atmospheric aggressions. Founding member of No Neck Blues Band, Pat Murano also established the K Salvatore highly enigmatic duo in the mid 1990s together with Jason Meagher (also of NNCK fame and more recently head of the Black Dirt Studios) as well as the black Malkuth beast. Decimus has existed as an entity for some years, privately kept secret in the abyss of New York darkest creation. Available now in very limited quantities, Decimus 2 is the first chapter of the Decimus sodality. With reluctance, we are driven into the desert rent from the sweet succor of slavery Under Malkuth we feed the senses failing to satiate the insatiable For Shimon bar Yochai Synthetic meditations on the zodiac as envisioned by Decimus Magnus Ausonius (310-395). First in a series of twelve Decimus LPs. Silkscreened edition of 250 LPs released by PLANAM. Multis terribilis timeto multos." - Planam.

"Sivan, dawn of the word
Come Children!
A transmission from Kochav
For Yaakov and Esau to bear equally
In the formation of the SOD"
"Dark psychedelia formulated by Pat Murano (No Neck Blues Band, Malkuth, K-Salvatore & Key of Shame) deigned to alternately disorient and elate by synthetic means.
4th in a series of 12 lps dedicated to the zodiac of Decimus Magnus Ausonious
Limited to 300 copies all in hand painted jackets. “Multis terribilis timeto multos” - Kelippah.

“How does one deal with the worlds nightmarish montage of bad news -- the glut of information that incites feelings of futility and insanity? One way to cope is to plunge deeper into the madness, at least temporarily, for a dip into the healing pool of catharsis. Few people in music today provide a more immersive alternate reality on record to combat our own horrible one than Decimus (former No-Neck Blues Band guitarist and synth player Pat Murano). Musical categories dissolve in the mind as one tries to ascertain whats going on in Decimuss sonic universe, realized in a series of 12 LPs dedicated to the zodiac of Roman poet and rhetorician Decimius Magnus Ausonius (c. 310-c. 395). As with some of the most advanced and individualistic musicians (Coil, Demdike Stare, Mnemonists, Nurse with Wound), Murano instinctively generates sounds that seem to bypass normal listening responses and flow directly to the subconscious. Deep immersion in Decimus 7 leads the listener to a disturbing, mind-altering realm. Each aspect of these two epic, side-long pieces feels as if its controlled by a malevolent super-being hell-bent on subverting conventional notions of music. The A-sides untitled track sounds like an alien transmission trying to fight through static and command the listeners soul. Grossly distorted Chrome-like grumbling and icy synth motifs waft over artfully spluttering drum-machine beats, establishing a disorienting, unsettling tone. With alchemical zeal, Murano fills the stereo field with perilous atmospheres, warped and distant melodies, Doppler-effected drones, and bleating percussion. When he brings in a trudging, sludgy 4/4 beat wreathed in mysterious mumbles and aural effluvia, its like an unlikely collaboration between :zoviet*france: and Severed Heads. Side Bs untitled piece starts with distant, bludgeoning beats hitting with unpredictable tempos and force. Four minutes in, a semi-familiar, bulbous rhythm coheres into a bizarre strain of slow-motion trance music, swathed from all directions with slithery, bleepy synth tones and machine-elf utterances geared to enhance your DMT trip. Things inevitably tilt toward chaos and return to the enigmatic static that opened the album. By records end, you have no direction home... nor even a concept of what "home" is anymore. This may be the ultimate distillation of Decimuss chthonic genius. Mastered by Rashad Becker at Dubplates & Mastering. Artwork by Chloe Harris.” - Further.
Decimus 7 by Decimus

"Seventh in a on-going series of twelve electronic meditations on the zodiac of Decimus Magnus Ausonius (310-395) as played by Pat Murano of No Neck Blues Band, K Salvatore, Malkuth and Key of Shame. This one is for sure the creepiest and most disturbing chapter of the series so far, with swathes of electronics melting with the highest tones of misterious lullabies from somewhere far away, keeping the listeners ear firmly at ground level. Edition of 300 on black vinyl, with hand-stamped covers." - Holidays.

"New tape from the solo project of NYCs Pat Murano of No Neck Blues Band, aka Decimus. Pat has been hard at work the last few years crafting his series of self-titled epics on his own Kelippah imprint, and Glass Tetany continues the legacy onto NNA. This release is a disorienting journey through the rolling dunes of far away desert, leaving the listener feeling isolated on unfamiliar terrain. Carrying the tradition of psychedelia into the next age, Decimus weaves dizzying melodies between synth and guitar, ranging from tender to gritty, creating a dense mass of multi-fidelity atmospheres that seem to score a tale of otherworldly travel. Chopped up alien beat work and bionic vocals cut through vapor, disembodying the mind from the physical form. Original cover artwork by the artist." - NNA Tapes.

"Drawing himself out from within the folds of NNCK, Pat Murano has gone on to litter New York City with the sounds of his grimey electronic meditations and the hallucinatory happenings of numerous clandestine interaction groups such as K Salvatore, Key Of Shame, Raajmahal, or Safiyya. Murano has released a number of his surreal spells as gypsy souvenirs via his private imprint Kelippah. Within this bounty lies one of the most mysterious and undefinable of works, known only as Decimus. Over the last two years we have seen an impressive series of LPs (as well as the odd tape and cdr), all given seemingly arbitrary letters or numbers for titles, most of which were released on Kelippah, as well as several handsome releases on the Italian labels Holidays Records and Planam (a sublabel of Alga Marghen) . The music of Decimus is highly oblique and personal sounding. Uneasy electronic orchestrations flow within and without a m鬡nge of intuitive concrete collage, vocal intonation and ritualized electro-acoustic performance. Like little else before it, except perhaps the likes of Kluster, or another of Conrad Schnitzlers incredible inner space adventures." - Polydipsia.

"In an era where compositional abstract music has been co-opted by studious arrangers obsessed with process, where forbearers have been kidnapped by pop stars, and where the noiseniks have all turned to techno beats, this split lp by Decimus (Pat Murano) and Hobo Sonn (Ian Murphy) presents a triumphant return to the frayed and dangerous inner world of outsider sound exploration and reproduction.
Both artists have crafted individual soundscapes that reek of the cinematic, while eschewing both pastiche and canonized musical reference points to create a unique inverted cosmos. Presented over two sides of vinyl each suite of music almost perfectly mirrors the other. Where Deciumus uses synthetic devices to create warped, nightmarish representations of organic, everyday sounds (creaky floorboards, a heartbeat, rats squeaking, camera shutters clicking, a taunting feral animal cry), Hobo Sonn places field recordings of actual sounds (foot falls, birds, insects, automobiles) in a dark and drifting world that feels very much like a waking bad dream. If the Decimus side feels like a descent into the end of ones days, then perhaps Hobo Sonns side is the reality we face once we cross over. Or perhaps it is the other way around.
There is not a payoff to be found within these vibrating grooves, instead you are invited from the opening seconds of each side to be a part of a parallel world, one that perhaps lives right around the next darkened corner, or at the periphery of your eyesight. Like real life, the peaks happen subtly, when you are not paying attention, and leave you in a different place than you were when you started. Another deeply personal release from the Kellipah label." - Jason Meagher
Limited to 300 lps. Jackets silk-screened by Phil Franklin and Christine Shields at Bright Spot Ink.

"OTOroku, the record label arm of Dalstons Cafe OTO, kick off 2013 with an LP release from Decoy with Joe McPhee - Spontaneous Combustion. Recorded in October 2011, Spontaneous Combustion splits the second set of the first night of Decoys two day residency with special guest Joe McPhee across two sides of heavyweight virgin vinyl with two colour artwork by Oliver Pitt. Performed by: Alexander Hawkins, Hammond B3; John Edwards, double bass; Steve Noble, drums ; Joe McPhee , pocket trumpet, alto sax." -Otoruku.

"Otoroku presents a new 2CD version of Spontaneous Combustion, here with an extra 78 minutes of music added to the original LP material. The original LP was listed in The Wire magazines top jazz & improv releases of 2013. Recorded in October 2011, Spontaneous Combustion splits the second set of the first night of Decoys two day residency with special guest Joe McPhee. Performed by: Alexander Hawkins (Hammond B3); John Edwards (double bass); Steve Noble (drums); Joe McPhee (pocket trumpet, alto sax)." - Otoroku.

"One of the most experimental bands of the Italian prog scene, Dedalus were founded at the beginning of the 70s by Michele Bonansone (keyboards, cello, vocals) and Marco Di Castri (guitar, saxophone) in Pinerolo, near Turin. Their first eponymous LP consists of instrumental jazz-rock compositions, influenced by artists like Nucleus, Miles Davis, Soft Machine, Stockhausen and many other musical innovators of the time. Dedalus was originally released in 1973, and in the same year the band took part at the Avantgarde and New Trends Festival in Naples, being pointed as the real revelation of the event. The album, enclosed in one of the most peculiar Italian prog artworks by Cesare Monti, already contains some of the avant-garde hints which would be fully developed in the following Materiale Per Tre Esecutori E Nastro Magnetico. Available as black audiophile 180gr. vinyl. Housed in a full-color gatefold sleeve." -AMS

"Following a strictly limited tape edition of American Zen, Lee Bannon, aka Dedekind Cut, links with Hospital Productions for an expanded new vinyl edition, clasping a sublime bonus single collaboration with Alex Zhang Hungtai, whos better known for his maudlin pop moniker, Dirty Beaches. If you like your ambient music intangible and synaesthetically olfactory, huffable, youre encouraged to check this one without delay... American Zen finds its center in quivering, pensive drones and fractured small sounds, but is rent with an oceanic sense of scale, deploying splashes of distant percussion, extreme panned vocal snippets, and slowly escalating harmonic space perfused by crackling radio-waves and that intangible timbre of an old TV turned on somewhere, but you cant quite pick out its location. It unfolds at a glacial pace in five parts, crossing lines/waves comparable to Chino Amobi & Rabits ultraviolent mixtape (2015), the nostalgic Americana yearn of Torn Hawk, and even The Caretakers hallowed ether zones; perpetually out of reach, submerged or hardly there, but feeling as though hes close, breathing quietly in the background and watching you listen. In addition to the original five tracks, including the formerly tape-only "Folsom Lake 04", youll now also find a rare outing from Alex Zhang Hungtai infiltrating the finely graded and diaphanous silhouette of "Ill Give You The World" on the final side, serving to complement and temper Dedekind Cuts broader strokes with fluctuating microtonal infidelities and a gauzier, anaesthetizing and almost pastoral atmosphere thats a real pleasure to drift off with. Excellent stuff, perhaps the most interesting of Bannons releases so far. Cut at Dubplates & Mastering, Berlin." - Hospital Productions.

"MAURICE DEEBANK recorded his instrumental solo debut for the seminal Cherry Red imprint in 1984 while still the guitarist in FELT, the pastoral English pop group led by the notorious eccentric Lawrence Hayward (best known simply as Lawrence). Felts early albums Crumbling the Antiseptic Beauty, The Splendour of Fear and Ignite the Seven Cannons and Set Sail for the Sun were marked by melancholy guitar interplay and a lofty pop sensibility, but Inner Thought Zone illustrates how significant Deebanks role was in crafting Felts signature sound. Seven-minute album centerpiece "Silver Fountain of Paradise Square" and "Study No. 1" make beautiful use of supple arpeggios whimsically bent into cyclical structures in and around which Deebank weaves solos. His performance is nuanced and dynamic, undermining his own technical skill for the sake of expression, and its easy to hear Inner Thought Zone as an exposition of the increasing introspection that led to his departure from Felt. Glistening chords, synthesizer flourishes and breezy plateaus of exaltation collide with the sense of loss and isolation generally explored by Deebanks peers in the post-punk era, but rarely with as much impeccable grace and finesse. First-ever domestic release. Includes liner notes." - 1972.

"The second release on the new Not Not Fun sister label, 100% Silk, is an extended reworked version of Toronto, ON beat/voice trip-hop dream duo THE DEEEPs most divine/deluxe single, "Mudd" (featured on their NNF cassette debut, Life Light). The B-side features two syrupy sideways remixes." -100% Silk.

"May 30th, 2012 marked the 80th birthday of American visionary musician Pauline Oliveros. Needle Drop Jungle is a continuation of the celebration. Together with bandmates Stuart Dempster and David Gamper, Oliveros and company churned up a vigorous storm at their January 2011 residency in Seattle, captured on this double vinyl release. With the help of staff at DXArts, the Deep Listening Band recorded impromptu downpours unhindered by technical issues, a peak in their collective creative output. Suddenly and unexpectedly, David Gamper died on September 27th, 2011. Needle Drop Jungle thus includes the brightest moments from what have sadly become the last recordings of this exceptional trio. Along with the simultaneously released Pauline Oliveros Primordial/Lift 2LP, this title completes a tetralogy of Oliveros releases on Taiga that started with the Deep Listening Band Then & Now and Timeless Pulse Trio 2LPs. Needle Drop Jungle was mastered by James Plotkin, cut direct to metal and pressed on 200 gram virgin vinyl in an edition of 500. It comes packaged in a double-wide raw brown cardstock jacket with essays by the band and a flooded pocket. The jacket is encased in a custom slipcase, with gorgeous photographs by Michael S. Carlson from deep within the expansive Taiga forests southern edge." - Taiga.

"The Deep Listening Band is an improvisational group founded in 1988 by Pauline Oliveros with members David Gamper and Stuart Dempster. Now, 20 years later, the trio celebrate an anniversary of improvisation, innovation and commitment with their first-ever vinyl release. This vinyl-only document contains four side-long tracks, one reissued and three previously-unreleased. "Cannery Row" was originally available on the Troglodytes Delight (1990) album and captures the band in Tarpaper Cave, which Dempster recalls as "an old limestone quarry near Rosendale, New York that had lovely dripping water sounds and Valhalla-like mists." The previously-unreleased tracks were gathered from three separate live performances at the Sounds Like Now Festival, Sound Exchange American Composers Forum, and Engine27, a 16-channel installation of special speakers. The audio was mastered for vinyl by James Plotkin, cut direct to metal and pressed on 200 gram virgin vinyl in a limited edition of 500. The records come packaged in a custom-designed slipcover and a jacket with doublewide spines. The slipcover features two exquisite photographs and is dual-finished with a gloss front and matte back. The jacket is printed on a cardboard brown stock with the pocket flooded green and features three rich essays including: an introduction by David Felton, a short history by Dempster and information about the Expanded Instrument System (EIS) from Oliveros. Mastered for vinyl by James Plotkin, cut direct to metal and pressed on 200 gram virgin vinyl in a limited edition of 500. Includes an intro by David Felton, a bio by Dempster and an essay about the Expanded Instrument System (EIS) from Oliveros." -Taiga
- "First it was the name of an album that came out about 20 years ago and made new music history. Deep Listening. Then it became the name of the band that recorded that album. Then it became the name of a practice, an approach to art, improvisation, exploration and, well, living, that drove that band, a band of crazies led by Pauline Oliveros, to lower themselves into a huge underground concrete cistern in the state of Washington." -David Felton, 2008

"Alan R.T. - percussion, piano, horns, electronics.
Aaron Rosenblum - percussion, piano, strings, electronics. Aaron Rosenblum and Alan R.T. performed together for the first
time as
members of Sapat in 2004, and both currently perform
multi-instrumental roles in that bands mashup of jazz, psychedelia
and experimental music. In Deep Pockets, both improvise on a
narrower
range of instruments and concentrate on the intense musical
conversation that is made possible by the duo format. Alan is a
member
of Sapat, KARK, Valley of Ashes, and Boogie Brothers, and is
featured
on recordings by Rachels and Jackie-O-Motherfucker. He records and
performs solo under several pseudonyms, including Arsenio, Raw
Thug,
and Arthur Kalow. Aaron Rosenblum performs in Sapat, KARK, Son of
Earth, Shackamaxon (with members of Double Leopards and Magik
Markers), and Pleasant Colony, and has been a guest member of
Wooden
Wand and the Vanishing Voice, Sunburned Hand of the Man, and the
Cherry Blossoms. He also performs and records under his own name
and
runs the Hank the Herald Angel Recordings label (
www.hankrecordings.com). Their debut CDr features a slightly
condensed
record of a single days improvisations on electronics, percussion,
trombone, and strings." - Hank the Herald Angel Recordings.

“Along with the Prog MP3 disc Jase sent the latest of his rejuvenated Deepkiss 720 releases. This one easily wins the most ridiculous over the top packaging of the year award. Im not one to dwell on packaging, being of the mind that its whats inside that counts but a fold out, cut out sheet of eye-boggling collage the size of Andorra deserves special mention. Inside lies a cassette titled Caz World which contains the usual cut up tape malarky that DK720 is renowned for: Ringo swearing, tapes being sped up and cut up, TV samples, screams, punk riffs, disaffected teenagers spill the beans to tweed wrapped social workers whilst an
angry bee tries to singe the hairs in your right ear lobe. Its quite possible that theres nobody in the UK making noises quite like Deepkiss 720. Long may he run.” -Idwal Fisher. 18 x 24”, double sided screenprinted quadruple foldout in two VHS sleeves, gaping, handcut detailing, Cassette.

"This American group of Rochester released a single in 1983 and 8 new tracks here are incredible LP. Buzzcocks trend group but not that ..... Indeed, Television, Lou Reed, The Doors, Shoes and punk Arty also called on these 10 tracks dating back to 1983. The group consists among other brothers Jonathan Caws-Elwitt and Sam Elwitt, good at crushing, childish ditties, an ins / exhaustion of these influences that give enjoyable results with a singer who imposes unavoidable melodies thanks to its multiple variations of tone. 500 copies." - Cameleon. DEGRADS by DEGRADS / CAME23 - DLR007

"I was late to arrive on the alternating Sea Scouts and Bird Blobs trams, but was well aware that many peers and elders held those groups in high esteem. While the DEGREASER record may contain whiffs of the fog the Scouts/Blobs left in their wake, this is a beast in and of itself; enlivened by splashes of chrome strippin black-hole psych and No Wave malice. You might hear bits & pieces from principal songwriter TIM EVANs other bands over the years, among them BOGAN DUST and more recently, COCONUTS. Facts bein facts though, you could just as well do w/out hearing any of whats come before from Tim & co and still get a kick out of DeGreaser and their debut long-player Bottom Feeder. Here are nine tracks that will make you hit the wall or nosedive onto gravel. A pitch-perfect addition to our ever growing roster of gnarled eerie sounds; DeGreaser are a destruction unit of the highest caliber, worth yer chump change no matter what time you happened to tune in. Mastered by STEVEN SMITH." -Negative Guest List

“Crawling out of the deep, dark hole they dug for themselves on Bottom Feeder (2011) and Sweaty Hands (2012), New York Citys premier psychedelic swamp rock unit DeGreaser are set to take an unsuspecting and tepid rock scene by storm. Courtesy of NYCs Ever/Never Records, Rougher Squalor is DeGreaser 2.0. The band has evolved from their previous caveman dirges into a true power trio, heavy on the muscle and out for blood.

Drawing inspiration from classic bands like Blue Cheer, The Groundhogs and Coloured Balls, to outer-limits rock deconstruction reminiscent of the finest Japanese ensembles such as Mainliner and High Rise, DeGreaser are able to satisfy the need to bang your head, and also the desire to immerse said head in glorious waves of wah-wah pedal abuse. The squalor part of the title is no joke, as main Greaser Tim Evans – formerly of noted Aussie band Bird Blobs – drenches the proceedings in a sheen of speaker-shredding noise that would make the likes of James Williamson sit up and take notice. Anchored by the granite-solid rhythm section of drummer John Coates and bassist Kristian Brenchley (Woman/Ballroom), Evans is free to blast his surroundings with all manner of ear-piercing and –tickling tones.

But lets not make the mistake of filing Rougher Squalor under the section labeled Headcleaners. There are great songs waiting here for you. Opener “Words in Your Mouth” establishes the bands ability to harness melody and write memorable tunes. Straightforward rocker “Follow Me Down” is a hook-y request to join Evans in the downtown shadows. Tracks like “Got No Need” and “Do Me In” come off like Screaming Trees after an acid bath, while fleet-footed rockers like “You Said” and “Doorway” get in n out before you know what hit you. With Rougher Squalor, DeGreaser has staked out their territory and are defending it with the considerable rock power that they can muster.

"A repackaged and remastered 3CD set that compiles three of Diesel Guitars key 90s works: "Maria" (1995), "Medium of Lights" (1996), and "Assimilation" (1999). "Medium of Lights" and "Assimilation" have always been particularly hard to track down, both having been released in very limited editions. All tracks were remastered by Kiyoharu Kuwayama (Lethe) in 2016. The individual sleeves provide printed reproductions of the original artwork and package design. Limited edition of 200." - Art Into Life.

""Maria" (1995), "Medium of Lights" (1996) and "Assimilation" (1999) were a three-part solo work, where the album and track titles were deliberately designed to overlap and resonate with each other. Since the release of my first CD in 2002, I have concentrated on drone performance, so these three works record the final manifestation of the guitar amp feedback approach I used before. "Maria" was released by the Kyoto label G.R.O.S.S. in an edition of 120, but I released the other two works myself and they saw virtually no distribution. For a long time it has been difficult to hear my process prior to my first CD, so I am really grateful to be able to make these three works available again.
Back in 1995, I visited the late Akifumi Nakajima, who ran G.R.O.S.S., at his home in Kyoto to discuss the release of "Maria". I am pretty sure it was summer and we spent about two hours together. Nakajima talked to me about his record collection and his own works, and I remember being astonished at the scale of talents. In order to create this reissue, Satoru Higashiseto who oversees the musical side of Nakajimas estate was kind enough to lend me Nakajimas tapes and production materials which proved to be extremely valuable. I would like to take his opportunity to thank him. And to offer another prayer to Nakajimas peaceful repose." - Youki Noseyama.

“Dekatron is a duo formed in 2013 by Ivan Sentionaut, who has just released his first solo LP on Sincronica, and Miguel A Ruiz, a pioneer of Spanish underground electronic music since the early 80s who has worked under countless aliases through his cassette label Toracic Tapes, such as his legendary project Orfeón Gagarin, praised by Asmus Tietchens and discos Esplendor Geométrico. The duos first album, Dekatron II (2014) (GR 2133LP), received excellent reviews which regarded the duo as the new sensation in cosmic electronic music. Dekatron are inspired by the beginning of computing, the first IT systems and the deep cosmos. They explore the possibilities of the sounds of the new electronic age, using a wide array of digital and analog synthesizers, sound generators and rhythm machines. Dekatron III is the awaited continuation: an LP where their style range within electronic music widens, and includes more topics. There are echoes of Japanese techno pop, cosmic disco and extraterrestrial ambient music. Its a richer album, more varied and mature than their debut, and without a doubt a future classic of Spanish electronic music. As with the previous record, the wonderful sleeve has been designed by Alonso Urbanos, from an original oil painting by Adamo Dimitriadis. Science and retro-futurism in harmony.” - Geometrik.

“Dekatron II is a duo formed in 2013 by Sentionaut from Spanish kosmiche act We Are The Hunters and Miguel A. Ruiz (Michel Des Airlines), a hero of post-industrial electronic music in Madrid since the early 80s with his legendary label Toracic Tapes and his project Orfeón Gagarin, praised by Asmus Tietchens and Esplendor Geométrico. On their first album they take as inspiration the beginning of computing, exploring the possibilities of the sounds of the new electronic age, using a wide array of synthesizers, generators and automatic rhythm units. A happy inter-generational encounter between two electronic musicians from Madrid, broadcasting to the whole cosmos. Music composed & recorded by Sentionaut & Michel Des Airlines, 2013/2014.” - Geometrik.

"A re-release of the limited edition LP on Ohm, Der Lehnstuhl Sagt Alles features 3 epic live tracks from Norways Del. Drums, guitars, and electronics create an edgy and exciting racket that is up towards the ecstatic end of the free drone-rock spectrum." - Pseudoarcana.

"A timely re-issue of a cassette originally put out in ca. 50 copies in 1999. Two tracks, one hour, ugly slabs of free "rock" / racket goofed up in a basement in Trondheim in 1997. Even includes me as a guest artist... Del has released some full length albums on Apartment and Ohm records in addition to cassettes and CDRs on labels such as Pseudo Arcana and C/Psi/P." - Gold Soundz.

"Locusts fifth installment of their adventurous Met Life series of city field recordings and responses brings us a tongue firmly in cheek offering from the rapid cut up techniques of Seattles Chris Delaurenti. Simply put, its a little exercise on waste and getting wasted. This field recording documents the removal of waste at a transfer station in Seattle and the response rides the pun to its excessive extreme as DeLaurenti quickly becomes a participant in the flailing and drunken fanfare at a party, raising the ever important question What on earth are we all doing! No doubt, its this style, edgy humor and raw guerrilla techniques that make DeLaurenti a sort of Fellini of the audio underworld." - Locust

"Another lost gem of French underground music, Delired Cameleon Family was originally conceived as the soundtrack to Pierre Clémentis Visa de censure nº X, and was originally released as an LP in 1975. It was a host of reputed experimentalists who took charge of producing this soundtrack. Under the direction of Cyrille Verdeaux we found the likes of Yvan Coaquette (Música Electrónica Viva, Spacecraft...), Gilbert Artman (Lard Free, Urban Sax...), Christian Boulé, Tim Blake (Gong, solo recordings...), Ariel Kalma (Heldon, solo recordings), Jean-Claude dAgostini, François Jeanneau, Jean Padovani, Olivier Pamela, Joël Dugrenot, Antoine Duvernet, Aude Cornillac and Valérie Lagrange. Cyrille Verdeaux was, of course, the main force behind the better known French band Clear Light. Verdeaux was born the 31st of July of 1949 in Paris. At the age of 15 he became a student at the French National Conservatory of Music, specialising in studies of harmony, composition and piano. He won three times the first prize in student composition. After the 1968 student riots he left the Conservatory to join a band as a keyboardist. In 1972 he released Clearlight Symphony, thus forming the band Clear Light to tour through Europe performing his symphony. Clear Light would release three more LPs through the 70s, and also the soundtrack to Visa De Censure. The music form Delired Cameleon Family, as it has been told somewhere, is the synthesis of pianos technical, epic scales, psychedelic wah wah guitar sounds and electronic cosmic, molecular machines arrangements. We are proud to add this great experimental trippy soundtrack to the Wah Wah catalogue, reissued in cool vinyl, with remastered sound, housed in a faithful reproduction of the original sleeve and complete with an insert with liner notes and photos. Only 500 copies pressed, so better get yours before they are gone!" -Wah Wah

2006 release. "Part of the Leeds/UK art/music scene in the late 70s that launched The Gang of Four and The Mekons, Delta 5 was signed to Rough Trade after only a few months in existence, and released their first single recording, Mind Your Own Business/Now That Youve Gone in 1979. No less an authority than legendary BBC host and producer John Peel received an advance copy of the single and played it twice that same night. He then requested that the band do a Sessions gig for him and the band was officially on its way. Relentless gigging with The Gang of Four, Echo and the Bunnymen, B52s, Specials, Teardrop Explodes, and U2 put the band on the map worldwide. They continued touring and recording until various members departed in late 1981, when they recorded one last single and then broke up for good in 1982." - Kill Rock Stars.

"About 11 songs by about 8 and 12 year old boys from Pori, Finland. Some may
remember his city as home of the hypno-rockers Circle. But this is far from
hypnotism. Powerfu pre-teenage screamingl, hysterical yelling and manic
cursing meets the Marshall guitar and Urpo - the fastest drum machine in the
World. The Demars has recorded over 500 songs during 1994-97 and here are
the very best of them. File under fantastic and mind blowing improvised hard
core punk." - Lal Lal Lal.

"Demdike Stare return with the fifth installment in their ongoing research and development series -- a double-headed monster split between gnarly reductions on the A-side, and industrial-strength edits on the flip. "Procrastination" edges through grimey detritus and gunshot snares within a vast open space perfectly primed for that Demdike slow-build. "Past Majesty" offers up a feral take on some kind of cyber-industrial insanity, somewhere between Ministry and Powell -- with a denouement which should probably come with a public health warning attached to it. All were saying is -- watch yr eardrums." - Modern Love.

Gatefold sleeve. "A project that came to life fueled by collectors obsession and a life-long willingness to dive head-first into unknown musical wormholes, Miles Whittaker and Sean Canty have never been defined by a singular musical trajectory. Their opening salvo of releases dabbled with the aesthetic of the occult and provided an alternate, parallax view of the Italian Library records with which they were both obsessed at the time, but as their long running mixtape series and brilliantly curated DDS label attest, their interests extend far outside the crevices of early electronic music and into dance music, dancehall, roots, jungle, techno, industrial, noise and beyond. While 2013s Testpressing series provided an outlet for mostly club-based productions shot from the hip, Wonderland, their first album since 2012s Elemental, has been constructed with a narrative in mind. From the clipped hard-style of the opening "Curzon", through the jaunty dancehall mutations of "Animal Style" and "FullEdge", exotica/house refractions on "Hardnoise", the frankly ridiculous, bass-bin destroying jungle ructions on "Sourcer", or the extended tease of "Overstaying", its probably the most enjoyable and loose-limbed hour of music in their catalog, or that youll likely hear in these weird, angst-ridden times. Mastered and cut by Matt Colton." - Modern Love.

"Essential installment in the Shangaan remix series, with futuristic pop duo Hype Williams turning out a mesmerizing tribute, lagging somewhere ages behind the party people, achingly soulful and lost. If you have to ask what the Demdike Stare side is like, then you dont deserve it." -Honest Jons.

"One of the bands that helped build the great Austin, TX music scene (the live music capital of the world), Demian was actually Bubble Puppy with a new name and sound. While Bubble Puppy was classic psychedelia, Demian was hard rock in the vein of bands like Atomic Rooster. Recorded live-in-studio at L.A.s legendary Record Plant studio in 1970, Demian was also one of the first bands to feature dueling lead guitars. Despite the high quality of the songs and the local buzz this album generated at the time, due to mismanagement, Demian soon faded into the record collecting beyond." -Klimt

"Levi and Kaylie, both from Alaska �?? Levi is the aforementioned Visible/Invisible Wall, Kaylie living in Idaho now. Broken electronic night crawl and acoustic damaged forest creep completely inspired by the endless winter nights and eternal summer days spent wandering through forever stretching forests and empty plains, rocked out on knife hits. Fans of Dead Machines should take definite note. Demonlore is by far the best project Ive heard from Levi - all the talent being attributed to Kalie, of course." - Enterruption.

"Consisting of Nate Young (Wolf Eyes) and Steve Kenney, Demons explore
near-epileptic fits of droning synth textures that elicit comfortable
remembrances of electronic-obsessed forefathers like Stockhausen and
Cluster whilst simultaneously bludgeoning forward with the grating and
scraping atonal complexities of Whitehouse and Throbbing Gristle.
Having already rallied a fervorous flux of supporters with
discomforting psychedelic multi-media performances and a slew of
cryptic releases, among them this years fetishistic Life Destroyer
box set, Evocation is an appropriately elaborate and accomplished
approximation of their shrewd identity.
Subterranean analog rumbles compete with laser-sharp extraterrestial
blasts and hums, both contrasts birthing an ominous hallucination of
impending dread. The four pieces here fixate into an almost narrative
concoction, forming an abstract portrait that feeds its murky sonics
into perplexing vibrations that force one forth into their path just
as much as they delight in crafting intriguing unease.
With artwork contributed by the duos frequent visual collaborator
Alivia Zivich, Evocation, which happens to be Demons first CD
release, is as apt a proper declaration as any, seamlessly crafting
their steady and intricate synth-scapes with the darkly psychedelic
images such creations naturally elicit within the psyches of attentive
devotees." - No Fun.

Now available on CD!!! Demons is Nate Young (Wolf Eyes) and Steve Kenney (Pterodactyls, Werewolves). "In the winter of 2005 Steve Kenney and myself began Demons. Steve rescued his Pro One from New Orleans Katrina aftermath. The synthesizer was moldy, had a bad power cord and a horrible buzz (I broke it after our first gig). I played various homemade electronic devices, rewired radios, feedback, etc. Later that week I bought a Pro One as well. Mine had no working keyboard and, of course, a horrible buzz (a grounding issue). What we found ourselves doing was not so much making music with the Pro One but rather just turning them on and listening to the synthesizer play itself. I recorded our sessions and we called it Demons. Our synthesizers are still somewhat broke." -Nate Young 12/27/06

"Five new tracks from the duo of Nate Young (Wolf Eyes) and Steve Kenney (Pterodactyls, Werewolves). Exploring the depths of their banged-to-shit Pro One synthesizer, these new tracks sound like nothing theyve done before. Packaged with new Nate Young drawing cover art." -AA.

"The Demons -- Nate Young (Wolf Eyes) and Steve Kenney (Pterodactyls, Werewolves) -- captured live in concert with no overdubs or processing. Features live visuals manipulated by Alivia Zivich, along with the Demons heavy churning synths and wailing, ripping guitar provided by the infamous Zac Davis. Remarkably engaging. 30 minutes." -AA Records.

"A split album featuring two NATE YOUNG (WOLF EYES) projects. DEMONS features Young along with STEVE KENNEY (PTERODACTYLS, WEREWOLVES). HATRED features Young, Kenney and SPENCE BRYANT."-Troubleman Unlimited

"Demons is the synth duo of Nate Young (Wolf Eyes) and Steven Kenney (Isis, Werewolves). Their track was recorded live in Chicago in March 2007 and its like an underwater space journey. The Vertonen side is the atmospheric opposite, like an out of control fire scorching the chaparral. Edition of 500, co-released by the lovely SNSE." - C.I.P.

"Stuart Dempster has been involved in a variety of new music endeavors over the last 40 years. He organized the ensemble to record Terry Rileys landmark piece In C for Columbia Records; commissioned works from Luciano Berio, Ernst Krenek, Pauline Oliveros, and several others; gave David Tudor a place to stay while developing Rainforest; participated in the U.S. premiere of Cornelius Cardews Treatise; toured with Merce Cunningham Dance Company alongside such luminaries as David Behrman, Takehisa Kosugi, and Tudor; founded Deep Listening Band with Oliveros; and much more. However, he has only released a few solo recordings of his own work during that time: In The Great Abbey Of Clement VI, originally released on LP by 1750 Arch and later reissued by New Albion Records, and Underground Overlays from the Cistern Chapel, also on New Albion. This is a third, originally released on cassette only in 1986 and receiving limited distribution. Unlike the others, this documents Stuart in front of, and with, an audience. This is important as Dempster works with the audience, two pieces in particular using them to add to textures he is creating and bringing them into the music. Dont Worry, It Will Come takes this a step further, using a series of hoses hidden underneath the audience seats with rather humorous results. The bulk of the disc is focused on his meditative buzzing and droning, skillfully drawn from unique didjeridus and the instrument he is best known for playing, trombone." - Anomalous.

“From Middle-Eastern dancehall madness, freaky jazz experiments, and heavy dub psychedelia to beautiful piano trips, dark machine raids, and spaced-out traumas. From here to there -- out there, and everywhere. This is the sound of Danish sampling duo Den Sorte Skoles 78-minute album Indians & Cowboys. Here, forgotten musicians from the communal musical treasury come together to jam in a global ghost-orchestra crossing time and space.Indians & Cowboys follows Den Sorte Skoles monumental sample-based 90-minute triple-12"Lektion III (2013), a magnum opus that earned them the Danish Critics Composer of the Year 2014 award and won them an international following, and which Sasha Frere-Jones included as one of six titles in his "What I Missed: 2013 Albums" list for The New Yorker. Den Sorte Skole take their strictly sample-based methodology to even more extreme territories on Indians & Cowboys. With an immense amount of samples, even finer-stitched collage work, even more diverse musical energies, and a renewed complexity of composition derived from the duos work as composers in residence with the Danish National Chamber Orchestra, this is arguably the most ambitious sample-based album ever made. Indians & Cowboys is self-released by Den Sorte Skole. None of the samples have been cleared, but all of the samples are listed on the sleeve; contemporary copyright law makes it practically impossible to clear the number of samples involved in Den Sorte Skoles work, and the duo insists on challenging a system built by big businesses to favor mainstream artists and big record companies. But by revealing their sample-sources, Den Sorte Skole hopes to pass on knowledge, spark interest, and give credit to the forgotten musicians upon whose shoulders Den Sorte Skole -- and the rest of the music business -- stand, build, and create. Includes fully illustrated 32-page booklet.”

"Dendoshi is Keith Connolly (No Neck Blues Band), Raymond Dijkstra (Asra), Dave Nuss (No Neck Blues Band) and Timo Van Luyk (Af Ursin, In Camera). Dendoshi: "sent to propagate the ceremony" or "missionary" (Japanese). There had actually been a previous incarnation of Dendoshi (hence Dendoshi 2), which was a large group performance in New York that ventured upon elucidating the memories of a a fifty-plus foot tall dead Weeping Cherry Tree re-contextualized as a sculptural exhibit.
Some thematic reference: The name "dendoshi" originates from the work of japanese filmmaker Kyoshi Kurosowa, whose films also inspired the content of the first performance. When the opportunity presented itself for Connolly, Dijkstra, Nuss and Van Luyk to come together to make a session, it was the perfect opportunity to realize Dendoshi not as a one-off performance on a theme, but as a recurring ritual in development. The resulting music widened the conceptual reflection of the band, drawing further upon the history and ideas of Franz Mesmer. Mesmer, the eighteenth century Austrian spiritualist healer, was among the first to put forth the theory of what he termed "animal magnetism", regarding a universal fluid which permeates all matter and can be influenced by the will, not dissimilar to some of Eliphas Levis concepts. What seemed to set Mesmer apart was an attention to mood and atmosphere, an aesthetic component to what were scientifically quite dubious theories, which lent to his work an aura of portent - thus the parallel with the music captured as Dendoshi 2. Reflecting the qualities that all four musical sensibilities had in common, the album is a statement upon the ephemeral nature of atmosphere and will, and the relation of reverie to oblivion as opposed to ecstasy.
The symbol, or mark on the front cover created by Connolly came intuitively and without revision. Its applied function is that of distinction rather than that of protection or as a seal. It was first applied to the photograph by Clarence H. White form 1904, where the first resonant depiction, or personification, of reverie and oblivion as applied to Dendoshi was found. By applying the mark Connolly is ceremonializing the image, thus rendering it distinct from its original form, not as appropriation, but as recognition or acknowledgment. The other images followed, each of them coming without search. The last image of Vermeers, from Van Luyks basement studio where the sessions occurred, brings full circle the series of four inserts. There is a trace of fear and a sensation of suspended time in these images that suits the music very well. Edition limited to 300 copies with a gold cover." -Planam

"First-ever official Denim Delinquent fanzine compendium, the legendary monolithic bastion of proto-punk journalism. Quite possibly the equivalent of the Dead Sea Scrolls of modern punk fanaticism, and one of the rarest self-produced publications to emerge from the pre-DIY years of the early 1970s. Its such a shame how few sets of eyes have seen these primitive pieces in real life, and thats why it was nothing short of prerequisite to forge this book into reality, which will undoubtedly set the clock back a few years on the standard “punk” timeline. We couldnt be happier to see the free-form intertwining of heavy rock, proto-punk, and primitive power pop represented with such unbridled enthusiasm, in a time before it was compartmentalized, commodified, and repackaged for the suburban teen market. Denim Delinquent is a true gem of unadulterated punk amateurism, condensed into an incredibly hard-edged slice of the early 70s you can immerse yourself in without pretense or punditry, a true pioneer of the underground press culture right at time in rock history where anything was possible, and the open-ended creativity ran wild. As they say, some of the most far ahead-of-its time music came from this early-mid 70s era, and as the rest of the music world sat idly by and waited to be spoon-fed their mellow mediocrity, some real adventurous wild rockers were right there lapping it up as it was happening in real-time, and the founder/editor/publisher Jim Parrett just so happened to fit this profile. Scientists and physicists can keep toiling away at trying to build time machines, but for us, theres no better vehicle for slipping into another time and place than when you are flipping through the pages of underground magazines like Denim Delinquent. The band illustrations are miniature masterpieces, and the writing is highly infectious, as any good fanzine should be- 100% driven by genuine excitement and a bleeding desire to spread the word. Happening across original copies of the magazine would be instant recognition of museum pieces, so were proud to present this North American cultural artifact complete with all of the rough edges intact, and with that irresistible and unmistakable excitement literally bleeding off the edges of each page. 200+ pages. 2nd printing of 300." - Hozac.

"Denis lived in a hippie community and recorded the songs between 68-78 and then released this one album. Rare as hell! Is it good then? you ask. Yes it is. Mellow songs—acoustic guitar and xylophone and some other cool instruments. The vinyl was probably made in less then 100 copies and released on the tiny Baba Cool System label. Some Comus vibes." Denis composed the music in hippie commune between 68 and 78. Music is stoned psychedelic folk with percussions, guitar, dulcimer and its sung in english. Made on tiny label not even 100 copies made. Similarities to Comus, Mark Fry, Subway, T. Rex and at some moments Damon. Considered mega acid folk/psych rarity as only 100 copies are rumored to be pressed." Limited to 500 copies." - Mellotron.

"Following several cassette releases since 2011, F.E. Denning now presents Cities of Light, his vinyl debut and his best work to date. The compositions and emotions are more complex than ever before, and with his signature endless pools of synth drones and melodies cascading over each other, he draws out a perfectly paranoid image of a modern metropolis. The equal measures of beauty and horror that occupy the modern sleepless machine cities are presented in a blurred narrative over the records five pieces. Cities of Light feels neither for nor against the concept of mega-city that it displays; the record feels more like someone accepting the state of things, accepting that soon the sunrise will be broadcast on billboards because of smog layers. Accepting that even with millions and millions of people there are no familiar faces appearing in the masses. That the city has become an organism of its own and that any fighting against it has already been integrated into its system. Cities of Light is a beautiful and cinematic drone record, a new level for the work of F.E. Denning, and a very precise portrait of how it feels to be alone with millions around you." - Posh Isolation.

"Originally released in 2004; this is a deluxe 5CD set packaged in a long form box -- in the same stunning quality as Fledglings prior/deleted Shirley Collins boxset. Four CDs trace Sandys complete career, with many rare and previously-unreleased songs including "Silver Threads and Golden Needles"; previously-unknown outtake from Fotheringay, "Losing Game"; previously-unreleased duet with Jess Roden, "She Moved Through The Fair" live in Los Angeles; a duet with Dave Swarbrick; alternate takes and early demo versions. The fifth CD bonus disc contains rare demos and live tracks, solo and with Fairport Convention (only included with the first pressing). 56-page full-color booklet containing a foreword by Richard Thompson, a biographical essay by Jim Irvin (MOJO), a coda by Dick Gaughan, many rare and previously-unpublished photographs, drawings, and lyrics from Sandys original notebooks. Also including full discographical track details." -Fledgling

SOLD OUT

Artist: DENTISTS, THE
Title: Some People Are on the Pitch They Think Its All Over It Is Now
Format: LP
Label: Trouble In Mind
Country: USA
Price: $20.00

"Lost to the world since 1985, now remastered and reissued for Trouble in Minds 50th release. The Dentists emerged from the infamous Medway scene that had already spawned The Prisoners, Billy Childish, and The Milkshakes - whose raw sound and stage craft played a crucial role in molding the bands ferocity. This long-player, fuses the aggression of British post-punk with the burgeoning jangle of the 80s underground rock scene and the bands core, paisley-tinted influences of The Beatles, Love, and The Byrds." -Trouble In Mind.

"a book comprising 50 stories of exactly 50 words in length, with topics ranging from a meeting of Jesus and Bolt Thrower to the virtues of peanut butter, accompanied by drawings with titles like "Viking Bee and Consenting Whale", plus a 21 song CD by black metal/ folk/ hiphop/ freek NATE DENVERS NECK (Nate also does bass duties in TOTAL SHUTDOWN). It gets the ok from Byron Coley, Mick Turner (Dirty Three), Tom Araya, AND the guitar player from Tool, which ought to be more than good enough for the likes of you." - La Mano.

"dEon is producer, composer and singer based in Montreal, Canada who explores electronic counterpoint through house, funk and pop music. Using synthesizers to snake out melodies that weave and interlock with each other, dEons music straddles a space between pessimistic desperation and the longing for ecstasy. At the age of four, dEon began making music with synthesizers and sequencers and learning music theory. Over the course of 20 years, dEon has inhabited numerous musical spaces. As a small child in the early 1990s, making amateur tapes of synthesizer-based music exposed him to electronic music. As an introverted only child, music remained a constant fixation over the next 20 years. At the age of 11, dEon began studying piano at a local university in eastern Canada, and was there exposed to the music of post-minimalist composers like Steve Reich and Terry Riley. The shifting counterpoints and patterns in Reichs music made a considerable, permanent impact on his perception of music. The young musician then started composing and arranging various musics for violin, chamber orchestra and piano. After a childhood of music lessons, master classes and competitions, the teenage Deon dropped out of formal music training, and after increasingly disabling anxiety and schizoid tendencies developed into severe agoraphobia during his adolescent years, he began producing large quantities of ambient, minimal electronic music while shut in for weeks on end. Having eventually overcome these issues, dEon started on a path studying several music traditions and instruments as an adult, including the Arabic Oud, Iranian Setar, Turkish Saz and Indian Harmonium. He briefly fronted an industrial noise group in 2005, all recordings of which have since been erased by dEon himself. In 2008 he travelled to the Himalayan foothills to study Tibetan music. During this time he lived in a secluded Tantric monastery on the side of a mountain, where he spent months in relative silence, practicing and writing music. After returning to western society in 2009 to find the worlds economy collapsed and his job terminated, dEon moved to Montreal and began writing pop music with heavy influence from classic Chicago house, early 90s dance music from Britain, boogie-funk, as well as the influences that had accumulated through the years of musical learning. The songs on his upcoming debut LP Palinopsia (named after a vision condition that dEon was born with) evoke a sense of dread, but also longing, like the hope of getting into heaven after the apocalypse. Much more so than any superficial musical cues, it is the longing for divine ecstasy and the fear of divine judgment that motivated the music of Palinopsia. Lyrics like �The ocean is a sewer / The city is a whore� suggest a much more apocalyptic view of the world as compared to the blissful, sleepy escapism of chillwave. The tracks are a deceptively accessible backdrop for dEons vision of the inevitable horrors of the 21st century post-information-age hellscape that we all will likely have to endure." - Hippos In Tanks.

"The Departmentstore Santas LP is a underground rock classic of the highest order -- from its carnivalesque front cover to the sixteen home-schooled tracks contained inside. Information about this mysterious band has been as scarce as original copies of their self-released album, yet purveyors of lo-fi pop esoterica have whispered about the Santas raison detre for the better part of the past three decades. Recorded in the early 80s in La Mesa, California, At the Medieval Castle Nineteen 100-Year Lifetimes Since features quirky sing-alongs, wide-eyed lyrics, echoey instrumentals and outsider folk-punk à la Daniel Johnston. While bandleader Joseph DAngelos unique charm may not fit comfortably in any one style, his preternatural world is united by the warmth and grit of these bedroom recordings. Out of step with other music of its era, Departmentstore Santas uncannily anticipated the 4-track movement of the 90s. This first-time reissue is recommended for fans of Television Personalities, Guided By Voices and Cleaners From Venus." - Superior Viaduct.

"Epitaph 1980-1983 is the compilation of all recordings by Der Blaue Reiter released for the first time ever, freshly mixed and mastered with all their original analog glory. In January 1983, Stefano Tirone and Stefano Mazzola had the chance to record most of the tracks that they had played as Der Blaue Reiter since their beginnings in 1980 and throughout 1981. They used a TEAC 4-track reel tape recorder and as four-track reels all songs remained unmixed and forgotten for many years. In 2012 and 2013 two of their songs, "Through Glasses" and "Lights Off", were featured in two Italian wave compilations but both songs were mixed, including some additional production elements, hence they didnt keep their full, raw originality. Incredibly, that has been all the Der Blaue Reite material that has ever been put out. Between 2014 and 2015, Stefano Tirone finally decided to mix all the surviving tracks from the original analog tape reels, but maintaining the primary sound and elements without additions or overdubs. Only one song, the instrumental "Tears Of Joy", whose tape was unfortunately damaged, had to be re-recorded but all the original instruments and amplifiers, surprisingly well-kept for all these years, were used again to make it sound exactly the same as the initial recording. The songs on Epitaph 1980-1983 are an amazing, historical document of what could be considered one of the first cold wave bands from Italy. Even though they have sadly remained virtually unknown, probably because of not having released anything until this decade, they were true pioneers. Drum machine, synths, bass, guitar, deep vocals to give aural shape to melancholy, together with heartfelt lyrics. The essence of what is now tagged as cold wave. Housed in a matte finish sleeve; Includes printed inner sleeve with pictures and lyrics; Includes download code; Edition of 265 (hand-numbered)." - Dead Wax.

"..taken from the original cassettes from 1983/1984. DER PILZ and DER DRITTE SCHRITT are brothers and did the famous TRÿMMER Cassette Label in the 1980s. DER PILZ is some industrial noise with some very nice samples in it, while DER DRITTE SCHRITT sounds more like early early DIE KRUPPS." - Was Soll Das? Platten. Limited to 200 copies.

“Limited edition of 100. Der Musikant is Rolf Schobert from South Germany. His music from the early 80s and his incredibly rare tape releases are a must-have for every serious collector and lover of minimal synth and/or NDW music. His purely minimal, straightforward powerful synth sounds in combination with his extraordinary and highly emotional vocals have a truly unique character. Rolf is also one half of famous Heute together with Georg Alfred Wittner. This limited double LP combines almost all these great tracks recorded between 1980 and 1984. Also available as part of the Bu/Bu-Musikverbreitung - Recordings 1980-1985 box (VOD 142LP).” - Vinyl-on-Demand.

"180 gram vinyl. Retrospectively, it makes perfect sense thatDer Plan created a soundtrack. For one thing, visuals were almost as important to Der Plan as their music. And if every self-respecting pop band pays attention to wearing the right clothes at the right time (or the completely wrong ones at the right time) and designing pretty album covers, Der Plan went further -- with scenery, masks and album covers designed by Moritz R® they invented their own universe. Indeed, the sounds of everyday life woven into Der Plans music contributed to the filmic quality of their sound. Thus Frank Fenstermacher, Moritz R® andPyrolator were not slow in responding to their old friend Rainer Kirbergs request to work on his latest film Die letzte Rache. The director Kirberg, born in 1954, studied film in Düsseldorf. They all knew each other from shared lodgings, political meetings and the local hangout Ratinger Hof. As well as playing his part in the music, Moritz R® also came up with the sets, while Frank Fenstermacher secured a minor role as the inspectors sidekick. But back to the music: Letzte Rache (1983) was a kind of revue with silent film qualities, so the soundtrack was a decisive factor. With the aid of the Emulator 1, Der Plan succeeded in recording something which could also work as a diverting radio drama without moving images. In contrast to the two previous albums Geri Reig and Normalette Surprise (BB 105CD/LP), which defined the Plan sound and virtually did without any musical quotations, echoes of jazz can be heard on Die letzte Rache and, of course, film music. Andreas Dorau weighs in with a bona fide pop hit in the guise of a "Junger Mann." Ah yes, the film itself, what is it actually about? Following the aesthetic tradition of 1920s German Expressionist cinema, Die letzte Rache -- "the last revenge" -- tells the hair-raising tale of a ruler who charges "the worldly" with the task of finding him a successor. The problem is: idiots abound. The worldlys search is fruitless and -- sometimes the most obvious solutions are the most practical -- he decides to seize power himself. At the end of the day: the rulers empire in ruins, the Worldly goes mad, the inspector goes to jail (arrested by his own assistant!), and the ruler is badly injured yet immortal, suffering terrible agonies. Bonus tracks include the six pieces from the film Der Grottenolm." -Bureau B.

"180 gram LP version. Geri Reig is Der Plans debut album (originally released in 1980), but not their first release. An EP, recorded with the aid of an Electric Memo dictation preceded Geri Reig. But the band is not very keen on reissuing this early work. Why did they call themselves "Der Plan," actually? "A concept which has something to do with the capacity of people to think and shape their future" as Plan member Moritz Reichelt, alias Moritz R®, once explained. Der Plan at that time comprised Moritz Reichelt, Frank Fenstermacher, Robert Görl and Chrislo Haas. Their music was menacing, fragmented noise rock, still with guitar and drums, but far removed from the typical (rock) music of the period. When Görl and Haas departed (to form DAF), guitars and drums also disappeared from Der Plan. New on the team: Kurt Dahlke alias Pyrolator. This was the line-up which recorded Geri Reig in Reichelts Düsseldorf office with a two-channel tape machine. Geri Reig is a punk album in the truest and best sense. New, threatening and, at the same time, humoros. While other bands of the era stamped with the seal of "punk" played a faster and harder version of 1950s rock and roll or 1960s garage rock, Der Plan, like a handful of contemporaries such as The Residents or Throbbing Gristle, not only rejected traditional song structures but jettisoned the whole instrument list. Thats punk for you! Allied to a deep aversion to rock music and the cliché that goes with it, was the wish to create something of their own. And Geri Reig is certainly idiosyncratic: fragments and songs, raspy and fragile, melodies and interference, ambient sounds up front in the mix. Fine in theory and -- rare though it may be -- excellent in practice. And it just gets better: the album was well-received. Moritz R®: "As if everyone had been waiting for it."" -Bureau B.

"Debut full length album originally released in 1980 on DER PLANs own Warning (later known as Ata Tak) label. Der Plan is widely acknowledged as the pioneers of the Neue Deutsche Welle (New German Wave) movement which was the transformation of punk rock and new wave into an entity of distinct form and style. The movement spawned other notable acts as Grauzone, Deutsch Amerikanische Freundschaft, and Xmal Deutschland. Der Plan originated from Duesseldorf and consisted of MORITZ REICHELT (aka MORITZ R(r)), FRANK FENSTERMACHER and KURT DAHLKE (aka PYROLATOR, ex DAF) on this recording. Geri Reig is a very diverse album consisting of tracks reminiscent of the early Der Plan avante garde period contrasted with more musical and catchy songs geared more towards minimal synthetic pop and experimental minimal synth. It has not been available on vinyl since its original release in 1980. The opener "Adrenalin Laesst Das Blut Kochen" is a hypnotic, pulsing ride interspersed with freeform synth textures. Vocal pitch-shifting makes it presence on Geri Reig and is style detectable in a number of Der Plan songs. "Gefaehrliche Clowns" is a rather minimal number with an infectious melody. "Commerce Exterieur Mondial Sentimental" was featured on the New Deutsch compilation and is a wonderfully sequenced piece with a melodic lead intertwined. The album is also intermixed with multiple experimental tracks which in composite result in a ground-breaking and pioneering document of the Neue Deutsche Welle scene. Medical Records is proud to present Geri Reig with original cover art (enhanced and overseen by Moritz R himself). This masterpiece is presented on 180-gram olive green colored vinyl in a limited edition of 550 hand-numbered copies." - Medical.

Japanese-only CD reissue of what was originally a Japanese-only LP in the 80s, issued in support of a Der Plan tour. "Der Plan is a German music art group who is running an independent label Ata Tak. The original LP was released only in Japan in 1985. Including 12" EP track, 2 unreleased tracks. Japan only." - Captain Trip.

"180 gram vinyl. Der Plan were invited to Tokyo in 1984 to play six concerts for Seibu, a Japanese department store chain. Seibu were staging a "German Week." But how did they come to choose Der Plan, of all bands? Why not an Oktoberfest combo or the Scorpions? Moritz Reichelt explains: "German New Wave was really popular in Japan. They knew more about it than people here at home. Catalogs and magazines detailed every obscure record and depicted the covers. This particular department store chain was linked to Wave, a record shop and distributor -- and they really knew their stuff." JaPlan documents the set list from these Tokyo shows. Featuring previously-released songs from the Normalette Surprise (BB 105CD/LP) album, the Die letzte Rache soundtrack, and the double single Golden Cheapos, JaPlan also includes rare instrumentals produced for these very concerts, and one of the most famous songs by Der Plan: "Gummitwist." Der Plan and Japan -- a good match, not only phonetically. Reichelt: "Japan had always been one of our strongest territories. Our records were exported there from the very beginning. When I arrived, I understood why. Japanese pop culture is really planesque in a way. Artificiality with a twinkle in the eye. We stepped inside our hotel in 1984 and switched on the television. The first thing we saw was an advert with three dinosaurs singing a song. Pretty much like one of our shows." The reissue is graced with new artwork due to the fact that the Japanese simply adopted the cover of the existing Golden Cheapos EP. The relationship of form and content was thus absent and one significant change was made: the image of a faint square covering the exposed lower body of a lady in the hay was replaced by an opaque black square. A joke at the expense of the censors fell victim to actual censorship. This re-release could be said to correct an optical error in the bands discography. Includes four bonus tracks." -Bureau B.

"180 gram LP version. 1980 the zeitgeist played into the right hands. And who held the aces? In Bureau Bs game, Moritz R®, Frank Fenstermacher and Pyrolator aka Der Plan. Tired of convention and full of enthusiasm, they encountered an audience who felt just the same. And with record companies too ponderous to sign up Der Plan, the wonderful Ata Tak label was born of necessity. Normalette Surprise is the second album by Der Plan, released in 1981, a good year after their Geri Reig debut. It is immediately recognizable as a Plan album, yet Normalette Surprise does contain a few, well, surprises. The first number, "Leb doch," is a brilliant pop song. One can say many (good) things about Geri Reig, but it does not contain any pop songs. "Leb doch" is built on a captivatingly taut rhythm, sub-cooled vocals and German lyrics. Hang on a minute, taut rhythm, sub-cooled vocals, German lyrics? Yes exactly -- Der Plan drew up the blueprint for what would soon become known as "Neue Deutsche Welle" -- the German New Wave. Although, "blueprint" sounds a little too benign. It was more like a big bang. Moreover, there was something new about it. Or rather, something old. Bizarrely, Der Plan were introduced by their American artist friends, including the controversial elocutionist Boyd Rice, into the amazing world of the German Schlager, a colorful universe of the absurd awaited exploration. "Kleine Schlager-Revue" and "Sie hat mich verlassen" are the clearest indications of this newfound passion on Normalette Surprise. Hence, Normalette Surprise presents the full range of attributes which would define Der Plan and the Ata Tak label: electronics and Schlager, noise and pop. And Der Plans protagonists succeeded -- unlike so many -- in their mission of creating something original, something of their own." -Bureau B.

"Normalette Surprise is the equally important and ground-breaking followup album to Geri Reig and was released in 1981. On Normalette Surprise, DER PLAN further evolved their unique style of Neue Deutsche Welle into an ever-so-slightly more accessible record yet not abandoning their roots as evidenced by hints of experimental sound textures and their characteristic quirky yet unde nable sound collages and pre-industrial notions. "Lebdoch" opens the record and is a marvelous and infectious pop ditty complete with catchy bassline and pitch-shifted vocals. "Generaele Essen Erdbeereis" is a stripped down electro number adorned with a pitch-bending freakout. Other standout tracks are "Meine Freunde" and "Das Insekt". For this special reissue, the hit-single "Da Vorne Steht Ne Ampel" and B-side "Rot-Gruen-Tot" will be included at the start of side 2 of the record. The single was originally released in the time gap between Geri Reig and Normalette Surprise and both songs are phenomenal additions to an already intriguing and landmark album. Normalette Surprise will appeal to devoted followers of this unique genre and fans of contemporary artists (DAF, Saal, Liaison Dangereuses, etc). Similar to Geri Reig, cover and back artwork have been restored by MORITZ R. Together, with Geri Reig,, this album is an essential document for any fan or collector of the fascinating Neue Deutsche Welle period. This record is lovingly presented on 180gram dark blue vinyl in a limited edition of 550 hand-numbered copies." - Medical.

"DER TPK is the charming acronym for DER TEENAGE PANZER KORPS, and anyone who cant appreciate the imagery of a pipsqueak quartet of fuzzy, distorted youth, drenched in DIY testosterone, rumbling out from sewers and into the street, just hasnt been vibing on the correct History Channel. Based outta parts unknown (Germany? California? Is there a difference?), Der TPK gnash and gnarl through the charred landscape of the underground like a small battalion of Tiger tanks blasting across the steppes of the Ukraine. Their sonic attack at times recalls the anxious throb of Mars in their prime, but suddenly it shifts and you could swear you were locked in battle with-uh, listening to, that is-the early discordant rumble of Savage Republic. These four youths-BUNKER WOLF, CATHOLIC PAT, BOY TRUE and EDMUND XAVIER-understand they are channeling a vortex of sound, circa 79-81. Thats where they wanna be. The walls shake, the floor crawls. Hey, whatta place! And really, how could comparisons to Mars and Savage Republic ever be a bad thing? Has Siltbreeze ever lied to you? Limited, one-time-only vinyl edition. Previous releases on Skulltones and Pink Skulls (via Jewelled Antler Collective) are out-of-print and mega-rare." - Siltbreeze.

"These unreleased and important historic recordings were made by Delia Derbyshire and Anthony Newley. Musically, this has to be one of the most brilliant, unexpected and lost collaborations in the history of both these exceptional artists. This rare and until now, unissued recording started life way back in 1966. This collaboration is a bizarre blip in the history of both these fascinating and important artists; its the first we know of Delia collaborating for a pop idea and the first time we know of Newley working with electronics. Thanks to this first-ever pressing, they can begin a whole new trip into the minds of musical collectors everywhere." - Trunk.

"A highly important previously unreleased soundtrack for Circle Of Life, created in 1972 by musician Delia Derbyshire and artist Elsa Stansfield. The soundtrack is a mix of concrete ideas, sound design, tape manipulation, natural environmental sounds and birdsong. The recording was originally commissioned by director, producer and art collector Anthony Roland for his 1972 film about the slides of radical stills photographer Pamela Bone. The film has been rarely seen and the soundtrack has never been released until now. This is the longest known work by Delia Derbyshire - either alone or in association with anyone else - and has been licensed by Trunk Records exclusively worldwide from the Anthony Roland archive/collection. Mastered by Jon Brooks, AKA The Advisory Circle. Full color single LP sleeve. Single LP on standard black wax." - Trunk.

"Anadolu pop doesnt get weirder than this! Back in 1979, two Turkish guys armed with electro-saz, guitar, drums and synthesizers were hitting the Turkish market in Germany where they lived, playing their sets of traditional-flavored electro-folk in weddings and circumcision feasts for Turkish emigrants in Germany. Thats their crazy story, and thats their crazy sound. This is their third album, in a limited edition of 500 copies only. Comes with an insert." - Guerssen.

"The dust bowl rock trio of STEVE GUNN, JOHN TRUSCINSKI and CIAN NUGENT came together when
they played a bowling alley followed by an appearance at Tusk Festival in Newcastle, UK. Part of this semi­
improvisational yet impossibly tight groups success hinges a rapport honed via The Gunn­Truscinski Duos
mixing of folk, psych, raga, and rock into hypnotic pieces that straddle the line between improvisation and
songcraft. Prodigal Irish acoustic guitarist Nugent brings his amalgam of suburban / coastal blues, 1960s and
70s singer­songwriters, psychedelia, 20th century composition and Takoma school to the two long and sprawling
tracks here. "Cat Mask at Huggie Temple" drops you straight in never­ending interplay between Nugent and
Gunn, who weave in and out of Truscinskis beats. Starting as a slow, deconstructed raga, "Chimay Blues"
moves into a hypnotic groove, builds to a crescendo, passes by and drifts onto the open highway." - MIE

"Tom Hirsts solo project Design A Wave offers Live On Your Yard -- an EP that presents four tracks of emotive and melancholic synth pop that point towards the eccentricity of artists like Snakefinger and Tuxedomoon, the synthetic slickness of Italo disco, and the misery of coldwave. This is the first vinyl release in Design a Waves 10-year history. Limited to 300 copies. Mastered and cut by Rashad Becker at Dubplates and Mastering." - Alter

"Sixth LP -- and part one of a two-part set -- from Manchester, UK-based free rock floatation unit DSDV. The band accepted an invitation by Burnt Hills guitarist Parashi to hole up in his Clifton Park, NY, basement and make a record in April 2015, and Parashi sat in with his bandmate Rambutan to wail with the guys. Starting out with an uncharacteristically straight-up Nick Mitchell riff, the record soon picks up a cloud and surfs it to 300,000 feet, the wind whipping through the bands hair for almost a solid hour of what turned out to be the most ecstatic jam they ever did have. Mixed and mastered by Bojanic Audio & Mastering, Manchester, UK. Dave Birchall: guitar; Andrew Cheetham: drums; Dylan Hughes: guitar; Nick Mitchell: guitar; Parashi: guitar; Rambutan: guitar; Edwin Stevens: guitar; Otto Willberg: bass. Features unique artwork combinations by John Moloney with every copy -- no two alike. 140-gram vinyl. Edition of 250. "Absolutely essential two volume collection with crazy Heitkotter esque artwork courtesy of Sunburned Hands John Moloney -- both references work sonically as well -- DSDV are one of the preeminent free rock bands out there, cutting edge, tip of the spear, reconciling out-there free jazz -- maybe think Coltranes Ascension -- with pummeling heavy psych straddling Bardo Pond and The Stooges -- the drummer and bassist maintain an in-and-out telepathic groove while six freaked out guitarists cut loose like almost nothin youve ever heard, a semi improvised yet well considered exposition of riffs -- my god, its full of riffs -- prepare yourself for a hundred minute hurricane of mind-blowing finger-blistering bliss." - Psi Lab.

"Seventh LP -- and part two of a two-part set -- from Manchester, UK-based free rock floatation unit DSDV. The band accepted an invitation by Burnt Hills guitarist Parashi to hole up in his Clifton Park, NY, basement and make a record in April 2015, and Parashi sat in with his bandmate Rambutan to wail with the guys. The first jam of the night up had turned out so well that back down they went, this time falling quickly into a rhythmic trance that dallied and then collapsed into free rock Helheim. Drones, counter-rhythms, shifts into major pentatonic Allman Brothers-isms, and spitting, all-out Mahavishnic curses and hexes make this the bands most erratic statement of unswerving cacaphonic intent. Mixed and mastered by Bojanic Audio & Mastering, Manchester, UK. Dave Birchall: guitar; Andrew Cheetham: drums; Dylan Hughes: guitar; Nick Mitchell: guitar; Parashi: guitar; Rambutan: guitar; Edwin Stevens: guitar; Otto Willberg: bass. Features unique artwork combinations by John Moloney with every copy -- no two alike. 140-gram vinyl. Edition of 250." "Absolutely essential two volume collection with crazy Heitkotter esque artwork courtesy of Sunburned Hands John Moloney -- both references work sonically as well -- DSDV are one of the preeminent free rock bands out there, cutting edge, tip of the spear, reconciling out-there free jazz -- maybe think Coltranes Ascension -- with pummeling heavy psych straddling Bardo Pond and The Stooges -- the drummer and bassist maintain an in-and-out telepathic groove while six freaked out guitarists cut loose like almost nothin youve ever heard, a semi improvised yet well considered exposition of riffs -- my god, its full of riffs -- prepare yourself for a hundred minute hurricane of mind-blowing finger-blistering bliss." - Psi Lab.

"Live In Manchester. Recorded by Phil Todd. Limited to 100 copies only. Includes beautiful silk screened artwork by Alex Humphreys." - FE. "Of course, guitars have long been middle-brow targets for commentators as somehow signifying everything that was cock-bound and self-aggrandizing and technically impudent about rock music. But when its played like this, with a blurring of technique that allows a bunch of northern punks access to the combined freak potential of more than a half century of electric six-string excess, its a reminder of the electric guitars uncanny ability to respond not just to where its been, but to where its at." --David Keenan, The Wire; "I cant remember the last time I felt myself overcome by so many conflicting emotions -- awe, excitement, envy, exasperation -- and yet it all coalesced into a contented, feverish fervor. I cannot tell you how great a feeling that is -- a near robotic state, the only movements being to get up and change the record... So if you are into your overtly intricate, caterwauling, explosive, experimental improvisational psych rock jams, this album is your ticket to Valhalla." --Sonic Masala.

“Third vinyl outing for Manchester, UK free-rock guitar army Desmadrados Soldados de Ventura. This one is a monster double LP comprising four heads-down slabs of perpetual crescendo veering between raging, pseudo-biker rock psychedelics, unhinged Japanese style freakout and fractured funkadelicisms. Recorded at the bands unofficial HQ at Sunshine Studios by local legend Patrick Crane, this is a molten third eye opener shooting ecstatic vibrations straight to the pranic centers. Limited to 300 copies.” - Golden Lab.

“Fourth studio LP and seventh full-length release from Manchester, UK guitar army Desmadrados Soldados De Ventura. This brand new set of jams is a very different doggy to the bands previous records. The A-side captures their most ecstatic, cohesive, sun-scorched, celebratory stylings to date, while the B-side demonstrates a disjointed almost Sun City Girls-eque approach to bastardised technicality and deep weirdness.” - Golden Lab.

"The eighth Desmadrados Soldados De Ventura album, The Grand Celestial Purge, is a three-hour, four LP box set of psychedelic musings on the departed musicians of 2016. Produced by Richard Formby and recorded at a converted church in Leeds, this is DSDVs most melodious and spacious album to date. You can hear clear nods to The Grateful Dead throughout as well as fragments of Can, Carlos Santana and John McLaughlins Love Devotion Surrender (1973) and even Tim Buckleys Blue Afternoon (1969) band. Drowned in tape echo and with a Wally Heider-style snap to the drum sound, the recording has all the traits of a classic Formby production. Gone is much of the blur of guitars that shrouded the bands previous albums in cacophony; Whilst still present here and there, its been replaced with a somewhat virtuoso level of interplay that smacks of a bygone, pre-ironic era in rock music where sincerity, dedication to the craft of improvisation, and the desire to transcend the mundane via heightened, sustained hive-mind mentality was all that mattered." - Golden Lab. Personnel: David Birchall - guitar; Andrew Cheetham - drums; Richard Formby - synths; Dylan Hughes - guitar; Nick Mitchell - guitar, bass; Dom Tanner - guitar; Otto Willberg - bass.

"If you havent heard Bob Despers New Sounds yet, you may have heard something about it. Originally recorded in 1974, New Sounds is considered to be one of the Pacific Northwests best-kept secrets, a regional Holy Grail with copies fetching upwards of $1000. Until recently, not much was known about this mysterious blind folk-singer from Oregon. In 2007, Discourage Records located Bob Desper, alive and well, living in Albany, Oregon. After two years of culling materials, Discourage Records is proud and honored to officially reissue this once lost masterpiece. Evoking the melancholy mood of Nick Drake, the fluid improvisation of Van Morrisons Astral Weeks, and the intricate instrumentation of Jose Gonzales, New Sounds dark, meditative urgency immediately transcends the thirty-five years marking its original release. This official reissue of New Sounds includes Bob Despers 1972 debut 7", Dry Up Those Tears (including picture sleeve); an 11 x 17 insert with extensive liner notes and full color photos; and 1970s style tip-on sleeve." -Discourage

"Originally recorded in 1974, New Sounds is considered to be one of the Pacific Northwests best kept secrets, a regional Holy Grail with copies fetching upward of $1000. Until recently, not much was known about this mysterious blind folk singer from Oregon. This official reissue of New Sounds includes Bob Despers 1972 debut, a booklet with extensive liner notes and original photos, plus two bonus tracks." -Arena Rock.

"DESTROY ALL MONSTERS 1974-1976 is a repressing of the long out of print 1996 boxed set by this seminal noise/avant-rock group composed of artists MIKE KELLEY, CARY LOREN, NIAGARA and JIM SHAW. It was previously issued on Thurston Moores Ecstatic Peace! label and is now reissued on the bands label The End is Here. These are early low-fi vintage recordings by Destroy All Monsters when they lived and performed at "Gods Oasis" in Ann Arbor, Michigan. Almost too good to be true, the cream of the crop of pre punk American Midwest weirdness. If you missed out in 76 and 96, get on board now!" - Book Beat.

"Primary Information is pleased to announce the release of�Destroy All Monsters Magazine�a compilation of the magazine that was originally published between 1976-1979. The publication contains all six published issues as well as a seventh �lost� issue and is 278 pages.
Destroy All Monsters was a Detroit-area band and collective that was formed in 1973. Its initial members were Mike Kelley, Cary Loren, Niagara, and Jim Shaw. Destroy All Monsters were art students and musicians who used performance art tactics to create noise music that evolved out of influences like Sun Ra, Nico, horror movie soundtracks, and local bands like MC5 and The Stooges. The band later took on new members and briefly reunited in the 90s.
Destroy All Monsters Magazine�was edited by Cary Loren and contained artwork, photographs, and flyers from Mike Kelley, Cary Loren, Niagara, and Jim Shaw. Printed using any papers and techniques available to the band, the issues combine the cut and paste tactics of punk zines with a psychedelic affinity for color.�Destroy All Monsters Magazine�functions as a kind of manifesto, providing insight into the band through densely layered pages with movie imagery, kitsch, cartoons, delicate drawings, and counter-culture collages. While�Destroy All Monsters�has been the subject of recent exhibitions and partial reprints, this is the first time that all issues have been reprinted." -Primary Information.

"Recorded in Ann Arbor in 1975, this long lost Destroy All Monsters gem features the group as a Sextet (Mike Kelley, Jim Shaw, Cary Loren, Jeff Fields, Kalle Nemvalts, and John Reed). Missing are the lovely lyrics and goth scrawl of Niagara but in her place we see the collective brainstorm through 30 minutes of an underground music/non-music and B-culture genealogy that is unmistakably Destroy All Monsters. A melted mind, reconstructed with duct-tape, bent circuits, saxophone drips, and fuzz that will lead you into dark corners with bright futures. DOUBLE SEXTET was lost for 35 years; witness the (re)birth with this incredible LP. 2-track 12-inch record with cover art designed by Mike Kelley!" - Printed Matter

"Grow Live Monsters is a selection from short home-made no-budget 8mm, super 8 and 16mm film fantasies made between 1971-1976. Most of the films revolved around a group of friends and the wall of noise they would create in basement cellars and in live performance. This was Destroy All Monsters, one of the most avant-garde bands of all time. Featuring artists Niagra, Jim Shaw, Corey Loren and Mike Kelley, Destroy All Monsters is like nothing else. Ever. Psychedelic meets noise meets high and low brow art in a Midwestern blender. Say goodbye to your retinas." DVD Contents: "Grow Live Monsters (1971-1976)" - The early films of DAM; "Shake A Lizard Tail or Rust Belt Rump" - Montage of late-night TV adverts, techno club dancers, and Z grade monster clips; "Monsters Redux" - Outtakes, concert footage, band memorabilia, and photos; "DAM Invades Seattle" - Performance footage from Seattle, 2000; "Hometown Horrors" - Band photos and production stills. Total running time: approx. 145 minutes; 5:1 Surround Sound. NTSC format, region 0.

"Destroy All Monsters are known by some for their role as a bastion of resistance of Detroits rock; for being, during their second period, the band in which Ron Asheton would reappear. For others, they are a pivotal reference point in the copious but relatively unknown avant-garde underground from the same city, after Thurston Moore and Byron Coley dug up their first recordings in 1996 and the original line-up reunited. Destroy All Monsters comprises two complementary and interconnected poles throughout the saga of the Motor Citys music scene, from the University of Michigans Cooperative Studio for Electronic Music to The Stooges, through to the White Panther Party. In its two incarnations, the experimental -- led by Cary Loren, Jim Shaw and Mike Kelley -- and the high energy one -- with Asheton and Michael Davis from MC5, both featuring the phantasmagorical Niagara in the role of doped-up priestess, Destroy All Monsters are the object of one of the most devotional cults of Americas cultural underground, as testified by their abundant artistic and record production. Hot Box 1974-1994 is the first anthology to bring together the best outcome of those two hemispheres, including much unreleased material. Includes a generously-illustrated booklet featuring photos and artwork never seen before. All tracks have been remastered from recently discovered tapes." - Munster.

"Destroy All Monsters are known by some for their role as a bastion of resistance of Detroits rock; for being, during their second period, the band in which Ron Asheton would reappear. For others, they are a pivotal reference point in the copious but relatively unknown avant-garde underground from the same city, after Thurston Moore and Byron Coley dug up their first recordings in 1996 and the original line-up reunited. Destroy All Monsters comprises two complementary and interconnected poles throughout the saga of the Motor Citys music scene, from the University of Michigans Cooperative Studio for Electronic Music to The Stooges, through to the White Panther Party. In its two incarnations, the experimental -- led by Cary Loren, Jim Shaw and Mike Kelley -- and the high energy one -- with Asheton and Michael Davis from MC5, both featuring the phantasmagorical Niagara in the role of doped-up priestess, Destroy All Monsters are the object of one of the most devotional cults of Americas cultural underground, as testified by their abundant artistic and record production. Hot Box 1974-1994 is the first anthology to bring together the best outcome of those two hemispheres, including much unreleased material. Includes a generously-illustrated booklet featuring photos and artwork never seen before. All tracks have been remastered from recently discovered tapes." - Munster.

"Live recordings of DAM performances in Tokyo and Osaka, Japan, from 1996. This 17 track, 72-minute CD contains early revamped DAM classics of You Cant Kill Kill and Evil Works, plus many newer exotic oddities like Indecipherable and Show No Shame. Included are cover versions of The Seeds 900 Million People Daily All Making Love and the most bizarre cover yet of Jon Andersons Yes classic, Clear Day. Stretching out into spacey sonic territory, DAM attacks live in Japan at their crusty best with original founding members Mike Kelley, Jim Shaw and Cary Loren supported by Art Byington and Dave Muller." - Compound Annex

"Under pressure to finally do a proper tour, (Daniel) Bejar turned to Victoria band Frog Eyes to back him up and breathe new life into his songs - which they did, and then some. In some cases, they wrestled them right to the ground, giving Bejar a solid kick in the ass, which is exactly what he was looking for. It was a classic Destroyer move: Bejar swore off rock music after perfecting it, then made a faux-orchestral album, then toured it with a band that made it sound like arty hardcore." -CBC Radio.
"Six songs from Bejars excellent Your Blues record, retooled & amped-up, with wings sewn on by Victorias amazing Frog Eyes." - Soft Abuse.

"There is no sense in trying to outdo Angel of Madness, DESTRY HAMPTONs bona fide cult classic. Caught up in the international punk zeitgeist, Hampton laid down his une saison en enfer in late 77 in the North Beach district of San Francisco with a pack of friends that included DANNY MIHM from the FLAMIN GROOVIES. Buzzsaw riffs and manic leads underpin Hamptons feral, reverb-doused vocals ("Im feeling mean / Screwed up tight / O Im ready to kill"). Angel of Madness is one of the most elusive records of the era: manufactured through legendary oddball label Moxie Records, stamped on Hamptons own Z-Bop imprint, and distributed through a couple local record stores. Eventually the remaining stock was stolen from storage. Deranged like the Mentally Ill, yet grounded in Crimes impeccable rock sneer, the ignoble savagery of Destry Hampton proves its supremacy in the annals of Killed By Deaths many volumes. This first-time reissue comes from the original master tapes." - Superior Viaduct

"If anybody deserves to be called a living legend in Norwegian free jazz it must surely be saxophone, flute, and clarinet player Frode Gjerstad. Since the late 70s, he has been central on more than fifty records and played with a number of prominent free jazz musicians including Evan Parker, Derek Bailey, Peter Brötzmann, Louis Moholo, Han Bennink, and Paal Nilssen-Love. Foreningen norske jazzmusikere named Gjerstad Jazz Musician of the Year in 1996, and the Norwegian Jazz Forum awarded him with the Buddyprisen in 2008. He founded Detail in 1981 with close friend Eivin One Pedersen (1956-2012) and legendary free jazz drummer and Spontaneous Music Ensemble founder John Stevens (1940-1994). The group became a quartet with the addition of bassist Johnny Dyani, and toured of Norway in March of 1982. They performed at the Molde International Jazz Festival in the summer and toured again in the fall. Pedersen left the group after the tour, and the remaining trio of Gjerstad, Stevens, and Dyani went straight to Stavanger and recorded Details first two albums, Backwards and Forwards/Forwards and Backwards (1983) and Okhela «To Make a Fire» (1984). So the intended quartet never got to make a record, but some live recordings do exist. This recording of the first performance from the fall 1982 tour, at the Henie-Onstad Art Centre outside Oslo, captures not the full quartet, but a variation on the trio: Gjerstad, Pedersen, and Stevens, without Dyani, who couldnt make it to the gig. The main reason for the delay in releasing this historic recording, according to Gjerstad, is that he couldnt listen to it because there were too many feelings involved. After the tour, his close friend Pedersen suddenly left the group, Dyani died in 1986, then Stevens in 1994 and Pedersen in 2012. There was also some doubt about his own playing, but after finally listening to the tapes, he realized how good everything was. Its almost unbelievable that Pedersen had just turned 26 at the time of this recording. Stevens is also incredible, quite different from what one might be used to from the Spontaneous Music Ensemble -- more open, possibly. Gjerstad is, as always, himself. At a time when most Norwegian sax players wanted to be Jan Garbarek, Gjerstad followed his own nose. Frode Gjerstad: tenor and soprano saxophones, bass clarinet, alto flute; Eivin One Pedersen: piano and keyboards; John Stevens: drums." - Rune Grammofon.

"If anybody deserves to be called a living legend in Norwegian free jazz it must surely be saxophone, flute, and clarinet player Frode Gjerstad. Since the late 70s, he has been central on more than fifty records and played with a number of prominent free jazz musicians including Evan Parker, Derek Bailey, Peter Brötzmann, Louis Moholo, Han Bennink, and Paal Nilssen-Love. Foreningen norske jazzmusikere named Gjerstad Jazz Musician of the Year in 1996, and the Norwegian Jazz Forum awarded him with the Buddyprisen in 2008. He founded Detail in 1981 with close friend Eivin One Pedersen (1956-2012) and legendary free jazz drummer and Spontaneous Music Ensemble founder John Stevens (1940-1994). The group became a quartet with the addition of bassist Johnny Dyani, and toured of Norway in March of 1982. They performed at the Molde International Jazz Festival in the summer and toured again in the fall. Pedersen left the group after the tour, and the remaining trio of Gjerstad, Stevens, and Dyani went straight to Stavanger and recorded Details first two albums, Backwards and Forwards/Forwards and Backwards (1983) and Okhela «To Make a Fire» (1984). So the intended quartet never got to make a record, but some live recordings do exist. This recording of the first performance from the fall 1982 tour, at the Henie-Onstad Art Centre outside Oslo, captures not the full quartet, but a variation on the trio: Gjerstad, Pedersen, and Stevens, without Dyani, who couldnt make it to the gig. The main reason for the delay in releasing this historic recording, according to Gjerstad, is that he couldnt listen to it because there were too many feelings involved. After the tour, his close friend Pedersen suddenly left the group, Dyani died in 1986, then Stevens in 1994 and Pedersen in 2012. There was also some doubt about his own playing, but after finally listening to the tapes, he realized how good everything was. Its almost unbelievable that Pedersen had just turned 26 at the time of this recording. Stevens is also incredible, quite different from what one might be used to from the Spontaneous Music Ensemble -- more open, possibly. Gjerstad is, as always, himself. At a time when most Norwegian sax players wanted to be Jan Garbarek, Gjerstad followed his own nose. Frode Gjerstad: tenor and soprano saxophones, bass clarinet, alto flute; Eivin One Pedersen: piano and keyboards; John Stevens: drums." - Rune Grammofon.

“Eddy Detroit returns with a brand-new LP! The legend refuses to diminish. Eddy Detroit crafts eight new songs full of his trademark twisted folk, satanic Americana, and trance voodoo magic. This album ventures into the deranged psychosis of the Phoenix AZ characters that inhibit Eddys world. Multiple-personality girlfriends, twisted and rouge hanger-goners, and life as a street musician in the infernal Arizona summer heat. Another cast of local musicians are on board for this record that features cello, ocean drum, piano, guitar, bongos, and violin. This is all capped off by the B-side, a deep, trance-inducing descent into Dantes Inferno that features Alan Bishop (Sun City Girls) on vocals, Doug Clark (Victory Acres/Feederz) on synthesizer, and Eddy Detroit on bongos -- overlaid with a recording of Eddy Detroit waxing on about his extraordinary life. "Toe Sucker Beach" is meant as an homage to The Velvet Undergrounds "The Gift" -- a track that can be listened to as a whole or as a hard pan, with the demented instrumental in one channel and Eddys reminiscences in the other channel. This record is another swan dive into the brilliant mind of one of the most original outsider musicians out there. Limited edition of 400. Released to coincide with Eddys Detroits first European tour in the fall of 2016.” - Assophon.

CD reissue of the first (of two) self released albums put out by Eddy Detroit (his third album would come out many years later on Majora, Jungle Captive, in 1997. Very exotic cult folk and primitive rock album, led by the irrepressible vocal presence of Eddy. "A reissue of more material from the early 80s Phoenix underground music scene, contemporary with Paris 1942; this time none other than the first LP by Eddy Detroit... this was self released in 1982 and has been pretty impossible to find for quite a few years. Featuring an all star lineup including Mary and Dan Clark (Victory Acres), Charlie Gocher and Alan Bishop (Sun City Girls), James Verlaine (aka J. Akkari from Paris 1942) and others, this has turned out to be one of my favorite records documenting a scene I pissed away a whole lot of my just barely post adolescence loitering in and around." - Nick Schultz.

"Eddy Detroit is an underground legend. He was a key fixture in the fertile Phoenix, AZ scene of the early 80s (that included such luminaries as the Meat Puppets, Sun City Girls, Maybe Mental, Feederz, JFA etc.). Immortal Gods was the first release on his Pan Records label (his second LP, Philosophers Journey would be the only other). Both records were privately released in miniscule editions, are now and have been rather difficult to obtain for many years, ensuring them as holy grails for collectors of the exotic, cult, folk, beat, punk, and outsider rock musical canon. Immortal Gods was recorded and released in 1982. It features Alan Bishop and Charles Gocher (Sun City Girls), Dan and Mary Clark (Feederz/Victory Acres), Jesse Srgoncik (aka James Verlaine aka J. Akkari from Paris 1942, which featured the Velvet Undergrounds drummer Moe Tucker), and Brandon and Audrey Curtis backing Eddy and his African, voodoo, Hitchcock musical vision. It is a timeless masterpiece. The LP jacket cover is quite possibly the apex in outsider photography and demented vision. It features Eddy and a lady friend (a woman he picked up for the cover shot because she had the bone structure he was looking for) on horseback with Eddy holding his head in his outstretched hand. A perfect vision for the music contained within. Assophon Records is proud to present this album in its original format for the current generation to tango with." - Assophon. Highly recommended!

"Where to start with Eddy Detroit? Born and raised in Detroit, Michigan, it was there, in 1966, that he was in attendance for the first Iguanas gigs (Iggy Stooges first band). He joined the White Panther party in Detroit and was "there" for the pre-punk sounds of The Stooges and MC5 ("We all smoked dope on the state Capitol and got beat up by the cops"). In the early 70s he traveled to London, where he stalked Marc Bolan and tried to seduce Tony Viscontis then-girlfriend Mary Hopkin. It was with Ms. Hopkin, when he was dropping off a demo tape at the Apple store, that he witnessed the moment when Ringo found out that The Beatles had broken up! (Weve got the pictures to prove it!) In the mid-70s, Detroit settled in Hollywood and started The Terminal Wave Band (bongo/synth/punk) which was the soundtrack to the hippy/biker/S&M/satanic/polyamorous scene that Detroit ruled in dingy, underground LA -- thats when he wasnt trying to seduce Nico (The Velvet Underground) to become one of his muses and lovers ("True story bub"). When rents in LA got too much for an acid-fried biker/S&M/punk, Eddy moved to Phoenix, AZ, and was seminal in fostering one of the most interesting underground musical scenes of the early 80s. He was an unofficial member of the Sun City Girls, toured with the Meat Puppets and Mighty Sphincter, and was the pith-helmeted shaman-in-residence at his club The Grotto! This LP contains recordings made from 1979 to 2010. They run the gamut of Detroits musical landscape, from the UK acid-folk of Tyrannosaurus Rex and The Incredible String Band through bongo-fueled satanic calypso to his new phase as a troubadour recounting tales of hobos, whores, and one-eyed jacks from the old west. Limited edition of 500 copies." - Assophon.

“A wonderfully entertaining exploration of drones, swells, rhythms, and melodies. Deuter was clearly a student of Indian ragas, but he took that influence and mixed it with drug-tinged psychedelia and synthesizers to create a vibrant new hybrid. If youre into kraut-rock, world music, ambient, and/or psychedelia, you need to get this album. Also highly recommended to fans of Acid Mothers Temple and the new psychedelia...” Deuter was a product of both East and West. Eckart Rahn, a young record producer at that time, recognized Deuters talents, and in 1971 released his first recording, “D,” on the then fledgling Kuckuck label (not, we hasten to mention, in any way a “new age” album). Deuter began to go into the mountains to record birds, water and wind to accompany his music; he also began spending much of his time at an ashram in Poona, India. Deuter was also one of the first artists to blend that Eastern influence into his music. Yet he did that blending in such a gentle fashion that it never jarred Western ears, unaccustomed to Eastern rhythms and tonalities. The terrific “D” album is an all solo affair recorded via multi-tracked guitars, electronics, percussion, flutes, and so on, in what looks to be Deuter’s bed-room; very psychedelic processing, at times an almost ADII-like heaviness mixing with more Popol Vuh-ish mystical spaciousness. Perfectly crafted headspace and always a pleasure to absorb, this is one of the finest and most unheralded albums of the early 1970s German scene. An all-time favorite.” label says: “Deuter was one of the earliest multi-instrumental soloists in Germany. He is considered to be one of the pioneers of New Age music and is still active, having released more than 40 albums. D, his first album, was released on the legendary Kuckuck label in 1971 and is considered to be a classic. With guitars, sitar, organ, harmonium, Asian and Oriental percussives, etc., it is a mixture of psychedelic underground rock, cosmic music and ethnic fusion, at places similar to Amon Düül 2, Between and Popol Vuh. Limited edition, deluxe 180g vinyl, exact reproduction of the original first pressing.” - Missing Vinyl.

"New age masterpiece from krautrock mystic Deuter, this album contains the music for the first two stages of an hour long kundalini meditation developed for westerners by Rajneesh (later known as Osho). The stages involve listening to the music and "Shaking" (stage one), "Dancing" (stage two), and "Witnessing" (stage three). These stages are not really meditations but a sort of preparation to facilitate meditation. Rajneesh had been trying to teach the practice of direct meditation for ten years before he realized his effort was futile: "I would say, “Relax”, to those I was teaching. They would appear to understand the meaning of the word, but they could not relax." He developed a technique that would activate the body with intense movement, creating tension in order to allow for the stillness of the meditation. Deuter and Rajneesh (along with a team of disciples that tested and consulted on these methods) collaborated to make music that would (in stage one and two) occupy the mind and compel the body. The music of stage three was designed to relax the body and compel the mind to awareness, acting as a transition to stage four, which is silent, with the person lying down, (actually) meditating. Speaking about music, Rajneesh wrote, "Between sounds of music there are gaps of silence. The authentic music consists not of sounds, but of the gaps. Music can make you aware of those gaps more beautifully than anything else." While living at the ashram as a disciple of Rajneesh, Deuter produced a series of compositions to be used in these "active" meditations. They were recorded using a multitrack tape machine and an assortment of acoustic and electronic instruments - guitar, tambura, bells, percussion, and synthesizers. The playing style is repetitious yet dynamic, incorporating loops, Indian classical motifs, musique concrète, and pastoral acoustic passages. Kundalini Meditation, never released on vinyl in the states, is presented here for the first time with the full length tracks. It was originally released in 1979."

Vinyl issue of a cassette originally released in 1980 on Pure Fruede (S.Y.P.H., Can, Boss & Beusi, Red Crayola With Art And Language, Die Todliche Doris, Strafe Fur Rebellion, Imi Knoebel, Mittagspause, among others...) Featured Rolf Dorper, later of S.Y.P.H., Die Krupps and Propaganda , who "in addition to the Scorpions , Nena and Power Plant became the worlds most successful German pop band of the 80s."

"In his assessment of music, philosopher and mystic Rudolf Stiener attributes a major part of human perception to the experience of the ethereal body. The ethereal body is a form unknown to (so called) normal consciousness. It is obscured by worldly tasks and the experiences of everyday life. The ethereal body is only fully experienced during sleep, where it emerges slowly in stages over the course of the evening. Once awakened, the ethereal bodies primary experiences is of light and tone and of being engulfed by a shimmering delicate tonal atmosphere. When the worldly body awakens the ethereal body returns again to obscurity, diminished by daily routine. However, when in our daily routine and if we give time to it, we come in contact with music, or certain kinds of images or art, the ethereal body is touched, awakened inside the worldly body. This is why we are sometimes moved to emotion by music or images. The ethereal body is awakened within us and experienced by our worldly body. Flowers open within us, a garden of experiences and emotion emerge and we can not help but yield to the needs of the ethereal body and its sensations. Stiener proposes that a well balanced person is one who experiences the worldly body and ethereal body at the same time on a daily basis. Listening to music and an involvement with art may be the only ways to establish this balance and unity, therefore, as suggested by Joseph Beuys we must expand the practice of art into every aspect of culture - especially daily routine. Electronic Garden is a series of sound works constructed using broken music boxes, ring modulators and frequency shifters, I call these electro-mechanical loops. My interest in these works first developed out of early experiments with analog and digital tape loops and later extended into music boxes. Music boxes are mechanical loops set into motion via spring compression and consequently have the character of winding down as they play. This compositional unfolding is most delightful as it destroys the often gebrauchsmusik quality of music box melodies. To further destroy this music of the home I explored the possibilities of working exclusively with broken music boxes as their melodic structures would be readymade destroyed. Further, they often squeaked, squabbled, and burped as they played. Additional deconstructions were performed with electronics. I have made hundreds of these little compositions and the practice of making them occupies the greatest degree of my free time. Electronic Garden contains a special contribution by Sawako Kato of Japan. Exchanging files via mail and conversing through e-mail, Sawako reconstructed parts of Electronic Garden resulting in 2 new tracks which Deutsch later combined for release on Electronic Garden. the cover images for this CD were inspired by the notebooks and field drawings of book artist John Wood. Each CD of this edition contains a hand made watercolor accented with gold leaf and his hand signed along with a photographic fragment verso." - Andrew Deutsch.

"This special picture disc LP features a live performance from Andrew Deutsch and Tony Conrad on side A (originally issued on CDR by Deutsch a few years back in an edition of 150 copies). The flip side contains two re-worked versions of the original AD/TC recording by sound artists Marc Schulz and Ilya Monosov." Edition of 200 copies.

"record 1 (krach006) is old stuff, recorded in the years 1983-85, they released a double cassette 1984, but only a few pieces. ..from bremerhaven in germany. record 2 (hertz004) is old stuff, but new played! thorsten, the leader of this band, played it with old instruments last summer at his home. he want to do that, and I take it on this great record. in the year 1986/87 thorsten end this band and get a new one. this new band, with name "die ganze wahrheit", released only one record." - Kernkrach. Very obscure, minimal synth/weird DIY on this collectable label (all titles go out of print immediately). Packaged in handsewn paper bag with inserts and handstamped labels. Edition 205 copies. The Die Ganze Wahrheit 7" is also available.

"Fantastic and long out of print solo project of DOROTHEA RAUKES. Dorothea was the ex-singer in of the famous German progressive, krautrock band STREETMARK (founded 1968 in Duesseldorf and released four LPs between 1976-1981). Dorothea Raukes was one of the few female characters of German progressive rock scene. The LP-previously released by Sky Records in 1981-is instrumental and reminiscent of a style similar to other classic late 1970s synth pioneers (Cluster, Tangerine Dream, Wolfgang Riechmann, etc.). The LP consists of six beautiful synth tracks and will be certain to appeal of fans of the above mentioned artists or any fans of early minimal wave, synth soundtrack, or other lost classics from the era of late 1970s and early 1980s. Pressed on high-quality 180-gram vinyl in a limited edition of 500 (individually numbered)." -Medical.

"There are times when the name of a musical project is in perfect harmony with the sounds emanating from it. And there are times when it is not. Take the 1981 album Deutsche Wertarbeit by keyboarder and composer Dorothea Raukes, which is rather an example of the latter. No stomping of military marches, as the title may imply, but six beautiful synthesizer treasures gathered together on the only solo album she would release, artfully unifying the so-called Düsseldorf School (Kraftwerk, etc.), the Berliner School (Tangerine Dream, etc.) and elements of Jean Michel Jarres music with the sounds of the inceptive 1980s. From the hypnotic to the cosmic, sometimes pulsating, sometimes evincing saccharine melancholy. The cool, almost technical artwork does not really fit the warm, sensitive music, either. Dorothea Raukes was not exactly an unknown quantity when the album appeared. She had been playing keyboards and writing for the Düsseldorf rock band Streetmark for years. The group -- as was typical of the period -- operated on democratic principles, which meant that she was never quite able to follow through on her own musical ideas one hundred percent. A solo album, however, would allow her to do just that. One of the reasons why it turned out to be a purely electronic album was Raukes sponsorship deal with Korg, giving her access to the full range of the companys gear. Listening to Deutsche Wertarbeit, those familiar with the history of Streetmark will find themselves reminded of Wolfgang Riechmanns solo LP Wunderbar (BB 027CD/LP), which appeared three years earlier and traced a similar musical pattern. Wolfgang Riechmann himself had been a member of Streetmark not all that long ago. Nonetheless, the two projects were entirely separate and had no immediate influence on each other." - Bureau B.

"180 gram vinyl. There are times when the name of a musical project is in perfect harmony with the sounds emanating from it. And there are times when it is not. Take the 1981 album Deutsche Wertarbeit by keyboarder and composer Dorothea Raukes, which is rather an example of the latter. No stomping of military marches, as the title may imply, but six beautiful synthesizer treasures gathered together on the only solo album she would release, artfully unifying the so-called Düsseldorf School (Kraftwerk, etc.), the Berliner School (Tangerine Dream, etc.) and elements of Jean Michel Jarres music with the sounds of the inceptive 1980s. From the hypnotic to the cosmic, sometimes pulsating, sometimes evincing saccharine melancholy. The cool, almost technical artwork does not really fit the warm, sensitive music, either. Dorothea Raukes was not exactly an unknown quantity when the album appeared. She had been playing keyboards and writing for the Düsseldorf rock band Streetmark for years. The group -- as was typical of the period -- operated on democratic principles, which meant that she was never quite able to follow through on her own musical ideas one hundred percent. A solo album, however, would allow her to do just that. One of the reasons why it turned out to be a purely electronic album was Raukes sponsorship deal with Korg, giving her access to the full range of the companys gear. Listening to Deutsche Wertarbeit, those familiar with the history of Streetmark will find themselves reminded of Wolfgang Riechmanns solo LP Wunderbar (BB 027CD/LP), which appeared three years earlier and traced a similar musical pattern. Wolfgang Riechmann himself had been a member of Streetmark not all that long ago. Nonetheless, the two projects were entirely separate and had no immediate influence on each other." - Bureau B.

2017 repress, originally released in 2010. "Minimal Wave is proud to present a full length LP by French duo Deux. Gérard Pelletier and Cati Tete formed Deux after meeting in Lyon in 1981. Their music can be described as minimal synth with stripped down rhythm compositions and suitably cold duets. Their influences are a perfect blend of Kraftwerk and French synth pop. Between 1983 and 1992, they released a cassette and several rare singles : Felicita / Game & Performance and Europe / Paris / Orly. They also appeared on the V/A BIPP LP (2006) and V/A The Minimal Wave Tapes: Vol 1 LP. The album features newly remastered demo tracks as well as their best studio recordings. This LP is a hand numbered limited third edition, pressed on 180 gram black vinyl, housed in a heavy matte jacket lined in pale blue with an innersleeve of printed black and white photographs of Gérard and Cati. R.I.P. Gérard Pelletier (1952-2013)."-Minimal Wave.

"12" EP by the lovely French synthwave duo known as Deux. Gérard Pelletier and Cati Tete formed Deux shortly after meeting in Lyon in 1981. Their music can be described as minimal synth with stripped down rhythm compositions and suitably cold duets. A perfect blend of archetypal Kraftwerkian pop and French synth, these set of songs comprise their later years (1985) and stylistically sound like classic house combined with the romance of new wave. This EP features previously unreleased newly remastered studio and demo tracks. Pressed on 180 gram gold vinyl, limited to 999 hand-numbered copies." - Minimal Wave.

"Classic LP by Ladbroke Grove counterculture proto-Punks the Deviants. Founded by legendary counter-culture figure Mick Farren and Russell Hunter and inspired by The Fugs, the Deviants were first of the anarchic groups to emerge from the Ladbroke Grove area of London. Two years before Hawkwind burst on to the underground scene, the Deviants were preaching revolution and creating their own form of musical anarchy. Ptooff! was the bands classic debut album, originally released in 1967 and only available by mail order from the pages of International Times. Resplendent in a lavish fold out sleeve and with liner note by John Peel, the record caused a sensation, one of the first truly independent British rock albums to be released. This edition restores the original foldout poster artwork and has been re-mastered from the original master tapes." -Cherry Red.

"Their last classic album with the popsicle-licking nun cover, originally released in 1969, before they broke up and most of the band became the equally legendary Pink Fairies; new liner notes by Mick Farren help prove the greatness of these crazed pioneers. As Farren has said, The Deviants were originally a community band which "did things every now and then—it was a total assault thing with a great deal of inter-relation and interdependence". He described their sound as "teeth-grinding, psychedelic rock" somewhere between The Stooges and The Mothers of Invention." Who can improve on that?!" - Captain Trip. Original copies of the 1997 CD release.

"Started in the ashes of the post-industrial scene of San Francisco and continuing onwards until his final performance in 1986, Deviation Social became a obscure cult phenomenon to followers of industrial tape culture of the 1980s. Only self releasing his recordings through his Ppresence label, the Deviation Social output was limited to a handful of tapes (some being less than 20 copies) and one sole 7", all of which fetch $$$ through collectors markets today. This limited release on Dais collects all of Deviation Socials contributions to experimental/noise/industrial cassette compilations throughout the early 80s on such notable labels as Vita Nova, Aeon, Beyond The Pale, and Another Room. Primitive, raw, and powerful....Deviation Social drew on influences & contemporaries such as Throbbing Gristle, SPK and Leather Nun but fused a experimental approach of musique concrete and crude experimentation using analog synthesizers, hollowed drum machines and tribal instruments allowing him to sporadically, at will, create some of the most interesting and unabashed industrial recordings the genre has created. Limited to 500 copies and includes a 8-page LP booklet with original linear notes by Deviation Social and archival zine interviews republished for the first time since their publication." - Dais. Highly recommended!

"During the summer of 1981, a young Art Injeyan attended the now infamous “final transmission” of Throbbing Gristle in San Francisco’s Kezar Pavillion. This concert experience forever changed the fabric of bay area experimental music and sent a sonic riptide through artists such as Injeyan to form their own experimental projects. After this seed had been planted, Injeyan started pulling together a crude, loose arrangement of musical equipment and creating pulsating industrial drones and noise rhythms under his newly coined masthead Deviation Social. Starting in June and wrapping up in October of 1981, Deviation Social had composed his first demo comprised of individual staged practices in his home. To release his demo and later audio / visual works , he founded his own label, Ppresense Records, to release all matters connected to Deviation Social. This demo was only distributed to a select few and limited to a hand-numbered edition of 25 cassettes in late 1981, now making it one of the more rare and sought after early industrial documents.
Dais is proud to reissue this demo in a vinyl format in a limited edition of 250 copies. Hand stamped, numbered and assembled to give homage to the original release and to celebrate the release series between Dais Records and Deviation Social." - Dais.

"One-man industrial outfit, Deviation Social left a scar on the face of the American 80s experimental/noise scene that has mysteriously been left to legend and rumor. Dais previously released the first authorized reissue of Deviation Socials compilation tracks dating back from the early 80s. Here within, Volume 2 compiles the two proper “studio” releases of Deviation Socials checkered past. The destructive Tempus Purgatio Part 7 single and 1982 album cassette Workforce/Deathwatch are finally collected and reissued as a single LP in a edition of 500 with zine booklet with writings and archival images from Deviation Social." - Dais.

"The first ever release by Devils Kitchen, perhaps the best of the greatly talented but forgotten bands from the legendary San Francisco psychedelic scene of the late 1960s. Devils Kitchen played all the major venues in the Bay Area and Los Angeles during this time period, opening for and playing frequently with many very well-known bands, including The Jefferson Airplane, The Grateful Dead, Santana, Quicksilver Messenger Service, The Allman Brothers, Big Brother And The Holding Company with Janis, The Charlatans and many, many others. The band spurned a recording contract offer from Mercury Records in 1968, displeased with the lack of creative control offered them by the label. Consequently, they never released any recordings. There are eight original unreleased tracks on this album and all were taken from the original master tapes that were recorded in 1969 at the Family Dog Ballroom On The Great Highway in San Francisco and the Sierra Sound Recording Studio in Berkeley. The music has a great and unmistakable late 60s acid-drenched West Coast guitar-driven blues-psych sound with snaky electric slide and roaring fuzz guitar throughout. The discovery of these master tapes and this subsequent release of Devils Kitchens first full length album, more than forty years after the recordings were made, is an exciting find for the collectors of obscure 60s psychedelia. How a great band like this remained under the radar and unreleased for all these years is mystifying. Limited pressing of 1000 hand-numbered copies. Includes a reproduction of Family Dog handbill from March, 1970, featuring Big Brother & The Holding Company, Kaleidoscope and Devils Kitchen. Welcome again to the great San Francisco sound of the late 1960s." - Lysergic Sound Distributors.

"Gary Panter is a bad penny. If he were German, the phrase might be, schlechter pfennig, which is much less euphonimous. So its a good thing Gary is no Kraut. But what the fuck is he? A Texan. A famous artist. A writer of songs, poetry and prose. As well as a gifted primitive musician. Thus, in this instance, bad means good, and penny means Renaissance man. Panter first burst into the public gut in the 1970s with his Jimbo strip in Slash magazine, his design work for Ralph Records, and some really goddamn ugly commercial art. A few people were also aware he was a musician, although many who discovered him through his first single - Colahaus - would deny the word actually applies to what he does. After his next record, a collaboration with the Residents entitled Tornader to the Tater, people began to take his roistering a bit more seriously. A Japanese company even let him do a gorgeous bizarro-world country-and-acid LP called Pray for Smurph. That one was so good, people started to realize - hey, he actually is a musician! Moving from L.A to Brooklyn, he eventually fell in with the evil genius, Devin Flynn, who widened Panters aural palette and also to got him playing somewhere besides closets full of pot smoke. The duo cut a dandy album, Go Outside, then managed to corral the wildly talented Ross Goldstein into their conspiracy. The results are this new record, and brother, it is a treat. They create miniature brain-damaged nuggets ranging from fake jazz to sloth psych with a nimble touch thatll make your head squeal with pleasure. Marty Robbins might toss around in his velvet- lined grave when he hears it, but screw him. All four of your corners will bounce like crazy. Guaranteed." -Byron Coley, Victoriaville QC 2011

"This trio -- Devin Flynn, Gary Panter and Ross Goldstein -- has delivered one of the most blinding psychedelic listening experiences of the last several anna. Only one of these darlings -- Ross Goldstein -- is known primarily as a musician. Gary Panter is one of our eras premier visual artists, and Devin Flynn is among the ages most berserk animation stars. But they have nonetheless managed to blast their way into the very center of a psych-specific cosmos that will make your fingers feel like sausages and your ears wobble as though theyre on stalks. The band has one prior record, the excitingly primitive Four Corners Bounce on Pete Nolans Arbitrary Signs label, but they truly arrive with Honeycomb. Opening with a gorgeous bloot through West Coast Pop Art Experimental Bands "Smell of Incense," they set a high bar, which they manage to hit every leap, no matter how cartoonish Garys voice sounds at times. They also manage to burn through killer versions of Familys "See Through Windows," Henske & Yesters "Farewell Aldebaran" and a bunch of other monster 60s brain ticklers, as well as coughing up their own material in a way that makes you think youve heard it somewhere before. Its a totally whacked effort, ending with a piece of spoken spuzz that demonstrates what it would be like to go to a Star Trek Convention, very high on bad acid, wearing cartoon hand puppets. Completely befuddling! Comes in an eye-toasting full-color gatefold cover, with insanely tricky graphics. You will be so glad you got this album, youll be thanking everyone on your street. For days." - Feeding Tube.

2017 repress. "Devos Hardcore documents the groups beginning as pre-punk outcasts in the fertile Akron, Ohio, underground rock scene. Spawned at the nearby college of Kent State, DEVO formed as a conceptual art project armed with the radical philosophy of de-evolution. Brothers Mothersbaugh (Mark, Bob and Jim) and Brothers Casale (Jerry and Bob) along with drummer Alan Myers soon whipped up an otherworldly brand of "devolved blues" that could hold its own alongside the beatnik groove of 15-60-75 (aka The Numbers Band) or the primal rock poetry of The Bizarros. Recorded on various four-track machines and in tiny studios, basements and garages between 1974-1977, Hardcore reveals their strikingly clear vision: rock n roll stripped bare of its collective cool and jerked back into propaganda fit for post-modern man. Its no surprise that these transmissions would soon catch the eye and ear of Brian Eno, who later produced their landmark 1978 debut album. Noisy synth, strangled guitar chops and a primitive rhythmic thud power the early Devo sound. Threaded beneath it all are lyrical themes of post-McCarthy paranoia, middle-class ephemera and Devos long-running topic of choice: sex, or lack thereof. Few moments in pop music history can match the grinding, pent-up energy of "Mongoloid" and the spastic bounce and sputter of "Jocko Homo" (two anthems presented in their earlier and superior versions here). Cult favorites like "Mechanical Man" and "Auto-Modown" make Volume 1 essential listening. Volume 2 digs further into the bands cranial bunker with the caveman hit "Be Stiff," the space age surf-blues of "Clockout" and even a demented take on bubblegum pop, "Goo Goo Itch." This 2xLP set includes four previously unreleased tracks: "Man from the Past," "Doghouse Doghouse," "Hubert House" and "Shimmy Shake." Superior Viaduct and Booji Boy Records are proud to present Devos Hardcore to a new generation of spuds, lovingly packaged with Moshe Brakhas stunning cover photography. As David Bowie said in 1977, Devo is indeed "the band of the future" Volume II includes four previously unreleased tracks." - Superior Viaduct

"Devos Hardcore documents the groups beginning as pre-punk outcasts in the fertile Akron, Ohio, underground rock scene. Spawned at the nearby college of Kent State, site of the infamous May 4 Massacre, Devo formed as a conceptual art project armed with the radical philosophy of de-evolution. Brothers Mothersbaugh (Mark, Bob and Jim) and Brothers Casale (Jerry and Bob) along with drummer Alan Myers soon whipped up an otherworldly brand of devolved blues that could hold its own alongside the beatnik groove of 15-60-75 (a.k.a. The Numbers Band) or the primal rock poetry of The Bizarros. Recorded on various four-track machines and in tiny studios, basements and garages between 1974 and 1977, Hardcore reveals their strikingly clear vision: rock n roll stripped bare of its collective cool and jerked back into propaganda fit for post-modern man. Its no surprise that these transmissions would soon catch the eye and ear of Brian Eno, who later produced their landmark 1978 debut album. Noisy synth, strangled guitar chops and a primitive rhythmic thud power the early DEVO sound. Threaded beneath it all are lyrical themes of post-McCarthy paranoia, middle-class ephemera and DEVOs long-running topic of choice: sex, or lack thereof." - Super Viaduct.

2017 repress. "Devos Hardcore documents the groups beginning as pre-punk outcasts in the fertile Akron, Ohio, underground rock scene. Spawned at the nearby college of Kent State, DEVO formed as a conceptual art project armed with the radical philosophy of de-evolution. Brothers Mothersbaugh (Mark, Bob and Jim) and Brothers Casale (Jerry and Bob) along with drummer Alan Myers soon whipped up an otherworldly brand of "devolved blues" that could hold its own alongside the beatnik groove of 15-60-75 (aka The Numbers Band) or the primal rock poetry of The Bizarros. Recorded on various four-track machines and in tiny studios, basements and garages between 1974-1977, Hardcore reveals their strikingly clear vision: rock n roll stripped bare of its collective cool and jerked back into propaganda fit for post-modern man. Its no surprise that these transmissions would soon catch the eye and ear of Brian Eno, who later produced their landmark 1978 debut album. Noisy synth, strangled guitar chops and a primitive rhythmic thud power the early Devo sound. Threaded beneath it all are lyrical themes of post-McCarthy paranoia, middle-class ephemera and Devos long-running topic of choice: sex, or lack thereof. Few moments in pop music history can match the grinding, pent-up energy of "Mongoloid" and the spastic bounce and sputter of "Jocko Homo" (two anthems presented in their earlier and superior versions here). Cult favorites like "Mechanical Man" and "Auto-Modown" make Volume 1 essential listening. Volume 2 digs further into the bands cranial bunker with the caveman hit "Be Stiff," the space age surf-blues of "Clockout" and even a demented take on bubblegum pop, "Goo Goo Itch." This 2xLP set includes four previously unreleased tracks: "Man from the Past," "Doghouse Doghouse," "Hubert House" and "Shimmy Shake." Superior Viaduct and Booji Boy Records are proud to present Devos Hardcore to a new generation of spuds, lovingly packaged with Moshe Brakhas stunning cover photography. As David Bowie said in 1977, Devo is indeed "the band of the future" Volume II includes four previously unreleased tracks." - Superior Viaduct

"First ever vinyl reissue of this incredibly rare early 70s Japanese LP recorded live at the 2nd All Japan Folk Jamboree on August, 7 1971. Formed in 1970 by ex-Blues Creation singer Fumio Nunoya, this live album featured a mix of self-penned guitar-heavy psych rock with anguished Japanese vocals along with a few standard blues covers." -B13. 140 gram LP, clear green vinyl in transparent PVC sleeve with blue lettering. Limited edition 500 copies.

"The Dezurik Sisters (also known as the Cackle Sisters) were Carolyn and Mary Jane Dezurik - two absolutely amazing identical twin sisters with soaring voices that you need to hear to believe. Here we have the first ever LP of tracks by these two incredible entertainers. The ladies sing, yodel and cackle some of the most impressively acrobatic vocal performances you will likely ever hear in your life. Beautiful and novel country tunes to warm your heart and make you feel alright. This LP contains the only three 78s released by the Dezuriks as well as selections from their radio broadcasts as the Cackle Sisters. A great unsung but important chapter in the history of country music. Old school tip on cover and liner notes with archival photos and interviews." - Mississippi.

"The first CD by this Nagoya psych band features lots of guitar driven West Coast style rock. Japanese import." Quote from CD - "Organized in 1990. Plays Heavy Psychedelic Space Sounds With Sensitive Vocal." Early 90s release.

2016 repress. "Starting with this release (despite the fact that its catalog number numerically precedes ZEITC 017CD), Die Schachtel switches its Zeit Composers series to the vinyl format and begins opening up to international artists besides the usual Italian suspects. This LP features the collaborative effort of Belgium-based composer Giovanni di Domenico (of Italian origins) and avant-everything master Jim ORourke. A long composition for strings and electronics, Arco is a piece for sustained tones and drones, vividly immersive and almost physical. The subtly shifting tones, the way the overtones interact with each other, the evolution of the piece, are all impeccable, much in the vein of acclaimed composers like Catherine Christer Hennix, Éliane Radigue, and David Behrman, although with a "warmer" soul. It explores the antinomy between stillness and movement, building toward a hypnotic (and rewarding) aural experience. In Giovanni di Domenicos words: "Arco is born out of two necessities, strongly interrelated: 1) creating a sonic space where the concept of waiting (patience?) can turn into form, and 2) doing this together with Jim ORourke, a musician who finds in form and its use his true greatness; The structure of the composition is quite simple: it is based on a cell of four repeated notes (the DNA of the piece), forming a melodic/harmonic texture which slowly freezes into suspended, levitating chords, in which the passing of time itself becomes a sort of harmonic extension, and in which the strings and the splendidly rich sonic palette of the electronics fuse into the true essence of Form." Each LP contains a 90x30cm-long tri-folded silver-and-black offset art print designed by Dinamomilano. Edition of 350. Giovanni di Domenico: string score; Jim ORourke: electronics. Ananta Roosens and Benoit Leseure: violins; Nicole Miller and Jef Durdu: violas; Marine Horbaczewski and Jean-Philippe Feiss: cellos." - Die Schachtel.

“A sonic journey into John Cage and surroundings by renowned Italian composer Agostino di Scipio and his talented students. On December 9th, 2012, upon invitation from the Associazione Scarlatti, Agostino di Scipio and his students at the San Pietro a Majella Conservatory gave a performance of a very rare piece -- John Cages Sculptures Musicales. The performance was planned out by Dario Sanfilippo, based on the few annotations left by Cage (which in turn followed an idea Cage took from Marcel Duchamp): the "musical sculptures" are sound blocks shaped by either electronic or acoustic instruments, sound blocks that should stay flat and stable in longer or shorter spans of time -- "constant sounds in a single envelope" -- as Cage wrote. The idea for this particular performance was to build prolonged sound textures separated by silent pauses, of duration roughly proportional to the loudness of the textures. The means to achieve that, however, were rather unstable and precarious in their sonic behavior: they included a self-built analog synth (Stefano Silvestri), a set of recycled mechanical objects and electronic circuits making up a kind of hybrid feedback network (Salvatore Carannante), an intricate computer patch of largely unpredictable -- but not random -- behavior (Dario Sanfilippo) and a "prepared cello" (Chiara Mallozzi). The sounds made with these means, as the piece was performed, are connoted by a tension due to the continuing attempt of the four performers to keep the sound level constant: not an easy task, given the idiosyncrasiescratic sound generation technologies involved, all of which remain critically sensitive to slight internal imperfections (e.g. Stefanos synth) or to the events in the surrounding environment (e.g. Salvatores recycled feedback devices), and given that the four performers were sitting far from one another, at the four angles of a large cave (at the St. Elmo castle, in Naples). What is peculiar, upon listening, is this uncertain stasis, this insecure and dynamic balance among components, a local instability contrasting with the larger framework consisting of few monolithic elements. Its always the case, with Cages work, that what seems to suggest a rather contemplative and ecstatic perspective, in actuality requires an incessant struggle, a demanding commitment and an enduring care for actions pursued in the moment. Also features other compositions from Stefano Silvestri and Salvatore Carannante, as well as a piece from Dario Sanfilippo.” - Die Schachtel.

"Diaframma were the best italian post punk band of the early 80s. They came from Florence, the city that was the most important center of new wave music of the period (see bands like Litfiba, Pankow, Neon, Moda, Polyactive, Karnak and many others...). In the wake of the English decadent dark-rock, strongly influenced by Joy Division, in 1982 they recorded their first single, "Pioggia / Illusione Ottica" (Italian Records). The beautiful lyrics of the poet/guitarist Federico Fiumani push the group among the most popular on the italian scene of the time. Followed by the split 7", "Circuito Chiuso" (Free/Industrie Discografiche Lacerba-1982) and the Mlp "Altrove" (Contempo-1983), which confirm the remarkable ability of the quartet (Gianni Cicchi on drums, Leandro Cicchi [close] on bass, Federico Fiumani on guitar and Nicola Vannini on vocals). This album contains two great live set recorded in 1983 never heard before. An amazing picture of the greatest italian post punk band ever!" -Synthetic Shadows.

"Diagram:A exists in the tendons that connect Western Mass basement dada, the psychedelia of repetition, sculpture, and an idiosyncratic sense of composition and space. It is the sound of electricity, systems connecting and breaking down. An expression simultaneously personal and inhuman. Gatefold 2LP in an edition of 250 with cover art by Bill Nace and insert art by Dan Greenwood." - Open Mouth.

"The third album from this experimental rock band comprised of former members of UT, GOD, FURIOUS PIGS, and EARDRUM. "A stuttering beast of guitar-driven post-no wave frenzy...rock music at its finest."-Bruce Russell (Corpus Hermeticum)

"This debut release from the mysterious Herb Diamante will transport you on a naughty journey through his speakeasy of debauchery and sin. These eleven tracks of alcohol, tobacco, and desire are driven by his rich, golden voice atop a psychedelic showroom of sound. Herb Diamante is perhaps the most unique lounge singer around. He sings songs about eggplants, yellow kazoos, and delicate stilettos. Then, hell "hail the fish-king" and finish you off with "a wasp in a jam jar." The elusive Englishman has finally allowed himself to be documented amidst a career built of legendary "word of mouth" appearances on both sides of the Atlantic. A long, tragic set of strange circumstances and sporadic insanity has somehow combined to create Herbs extended and sometimes frighteningly vivid hallucinatory universe. However, he remains a hopeless romantic and will forever pursue his difficult and evasive vision." - Abduction.

"Herb teams up with The Diminished Men, Kinski, Master Musicians of Bukkake and more, to make this amazing collection of songs, hits, and heavy dancefloor vibe on some tracks. Paste-on covers; hand-numbered edition of 200." -Manhand

"having already left a strong mark on there two revolutionary double albums on end all life productions, which carry the rare honor of warranting the term avant-garde without regard of following any blueprints, here are the first two demos by this obscure and controversial french outlaw black metal band known for their decadent activities. pacta daemoniarum was originally released in 1999 and crasse released in 2001 and exhibited twisted, vociferus manic vocals spit on top of complex orchestrated highly distorted chaotic metal. never resting and fully absorbed in the savage, sexually violent, drug-laden nihilism of french subculture."

"Little Butterfly Records present a reissue of Dias De Blues self-titled album, originally released by Discos De La Planta in 1973. Dias De Blues (Montevideo, Uruguay) was formed in 1972 by Jorge Barral (bass), Daniel Bertolone (guitar), and Jorge Graf (drums). They developed a blues and heavy rock proposal that was characterized by virtuosity of the musicians and blunt rhythmic base, mixed with the unusual strength, energy and aggressiveness. With all these elements they performed extensive improvisations. The lyrics that incorporated a plain, direct and politically incorrect language, were sung by Barral and Bertolone with rage and a clearly Uruguayan diction, though with certain John Mayall-style influence. Disenchantment with established society was part of the bands philosophy. For them, the name of the band, Dias De Blues meant "fucked up days", times of crisis, days of economic and cultural alienation, not just a reference to a musical style. Comes as 140 gram vinyl; Edition of 160." - Little Butterfly.

"Diatric Puds is a Californian brain trust spearheaded by Count Loachfillet... With his gaggle of undead musical minions he retools the sternness of electronic music in his own cemetery sensibility, allowing it to cross-breed and co-mingle with a playful haunted house sound effects vibe no doubt reminiscent of the cherished halloweens of your youth. This dish of haunted chop suey features the rutting of some decapitated cat manning a cauldron of devoured souls with fingernail xylophones, a witch with a speech impediment, every album thought to contain subliminal messages played backwards all at once and the sodden graveyard memories of a mangled airplane casualty who died in vain.
This truly scary 7" comes in a 48 page deluxe hardcover silkscreened book with art by Jacob Horwood, Andrew Zukerman, Andy Bolus, Winston Hacking, Michael Comeau and North Mutator. Edition of 100. " -Beniffer Editions.

"Californian braintrust spearheaded by COUNT LOACHFILLET, whose gaggle of undead minions retool the sternness of electronic music in his own cemetery sensibility, allowing it to cross-breed and co-mingle with a playful, haunted-house-sound-effects vibe. Musique concrete meets monster rock: the rutting of a decapitated cat, a cauldron of devoured souls with fingernail xylophones, a witch with a speech impediment, sodden graveyard memories of a mangled airplane casualty who died in vain. Second edition of 50 in gatefold jacket, out of print since 2010." -Beniffer Editions.

"Dickhead Rescue rescues dickheads. Thankless acts of goodwill inspires ungrateful whinging noise. New York cities ever/never label hears via interweb and offers 7"release. A side more than is swiped folk from Michael Hurley rethunk as blown-out pop snarl shimmer. B side appropriately entitled erepeato does donuts in a muddy paddock until the wheels fall off. Dedicated to dickheads in perilous situations everywhere. Never fear, Dickhead Rescue is here! Hear it loud,hear it now!" - ever/never.
Members of EXILES FROM CLOWNTOWN. 200 copies, no repress.

"First LP from New Englands favorite dream-harpist, Sophie Dickinson. Previously known for her work in the context of Bostons Whitehaus Family, Cucanandy represents a mind-blowing excursion into the mists of the heretofore unknown universe of acorn people, detourned Scottish balladry and backseat singalong dynamism. Sophies is music that lives in a hollow tree, emerging like a salvia-soaked squirrel to jibber and skip around your room in a way that will drive you crazy with deviously antic moves. Theres a delicious aroma that hovers over the session, smelling of grandmotherly pies baking in huge underground ovens, mixed with chipmunk fur washed in morning dew. There have been a lot of odd excursions into the wilds of New England before this, but there has never been one like this. Half kindergarten recreations of Wicker Man, half cannon rides into a spinning bucket of Scotch sausage, there is much here to make grown men (and women) swoon. Grab a spoon and do it" --Byron Coley, 2015. LP includes download code.

"The poetry of John Dickson, read by John Dickson
This guys work informed most of the silences in my music.
His voice is a profound worm which will infect your entire system." - Alastair Galbraith/Nextbestway.

"The brand new self-titled album full of Residents gone punk tracks that lean towards simple intertwining rhythms with a futuristic spin from Frances DICTAPHONE. Definitely along the lines of Rodent Plague, The Feeling Of love,or Cheveu but with a darker and more aggressive twist. Previous 7-inch released by Sweet Rot." -Kill Shaman

Reissue of a 1972 cassette originally released on ALBRECHT Ds Reflection Press. Features ALBRECHT, ALLAN KAPROW, NAM JUNE PAIK, WOLF VOSTELL, GUNTER SAREE, JEAN TOCHE and JON HENDRIKS. ("Apart from artist names, title, label and catalog number there are no further credits or recording details stated on the release."). Edition of 200 copies.

“the german word abartig refers to entartet and to art of course refering to entartete kunst refering to auschwitz. the stuttgart post-fluxus artist albrecht/d. cited a quote hans neuendorf used in an article about german avantgarde art and especially about wolf vostell and turned it into art. hans neuendorf was a german (probadly hamburg) art dealer who in 1973 said some bizarre things about art and german artists. one of his sentences was read, recited or performed by kaprow, paik, vostell, hendricks, toche, sarée and albrecht/d. - the very raw reworkings were released on the tape/cassette "die abartigen" as reflection press # 25.
and this is what herr neuendorf said:
"zu diesem zweck hat sich eine abart von künstlern herausgebildet, die nur noch den medien dient. zum beispiel vostell. er gibt ständig pressekonferenzen, oder er gibt “erklärungen” ab, aber eine künstlerische leistung liegt nicht vor." - "for this purpose (something like art as spectaculum and sensation... rvd) a de-generation of artists has formed itself to only serve the media. vostell as an example. he is always found in press-conferences or he is providing some declaration: but no artistic work is done (no artistic achievement is on hand)." (a very rough late-night translation).” - SPURENSICHERUNG blog.

"The sleeve is a screen printed reproduction of the original artwork. An additional insert includes German translations of the song lyrics. Edition: 320 copies." - Unwucht. 2012 reissue of 1982 BILL DIREEN Flying Nun 7".

"This thoroughly genius debut album from the Russian Industrial/avant garde duo Die Bluteuchte draws dark images from the evil Russian (war) history. A fictitious soundtrack starting from the middle ages around 15th century - for example the invasion of the Mongolian troops (track 5), the battle fought on a frozen lake (track 6 Battle In Lake Peipos), the armed forces of Ivan The Terrible named Opritchnina (track 8), the northern war against Finland by Peter The Great (track 10), World War I and II, the abduction of political dissidents to Siberia, to the developments of modern Russia with Glasnost in the late 80s RUS is a black metallic soundtrack built with thick layers of sound varying from acoustic pagan folk songs to subtle electronics and brutal noise workout. A serious masterpiece full of visionary musical superiority." - Sahko.

"As if the release of the Tetchy Teenage Tapes of Felix Kubin(version Pop on Skipp, version Nerv on A-Musik in 2003) was not enough, another label from South Germany urged us to plunder our archive and come up with 14 unreleased tracks of Felix Kubins Teenager electro nerve-grinding band Die Egozentrischen 2 .All the songs were written and produced on 4-track between 1982 and 1985 by Felix Kubin and Stefan Grund. The record title is Der Aufstand der Chemiker (Riot of the chemists) which is also the fastes synthie punk track of that time. I guess." -Was Soll Das? Platten. Edition of 300 in slikscreened jackets.

“Limited numbered edition of 200. French industrial group Die Form, led by Philippe Fichot, formed in the late 70s and released Die Form ÷ Fine Automatic in 1982, a split with Fichots Fine Automatic project. The complete original album is released as two separate LPs as part of the Archives Des Musiques Industrielles De France; this is part one." - Rotorelief.

“Limited numbered edition of 200. French industrial group Die Form, led by Philippe Fichot, formed in the late 70s and released Die Form ÷ Fine Automatic in 1982, a split with Fichots Fine Automatic project. The complete original album is released as two separate LPs as part of the Archives Des Musiques Industrielles De France; this is part two.” - Rotorelief.

"This Die Form side-project was recorded in a few days in 1984 and remains the only trace of their material recorded under the name Hurt, initially released on the Bain Total label during the same period as Some Experiences With Shock. This release brings together all the tracks from the cassette, as well as other titles from Die Form from this period. It is a kind of snapshot, close to the tear and chaos, where the machines and the out-of-control guitars are used as a support for the cry to final exhaustion. These are experimental and industrial creations, characteristic of this particular period/time, in the spirit of bands on No New York (Teenage Jesus, DNA, James Chance, Mars), and Suicide or Throbbing Gristle and SPK. On black vinyl in an edition of 300 copies." - Rotorelief.

"This Die Form side-project was recorded in a few days in 1984 and remains the only trace of their material recorded under the name Hurt, initially released on the Bain Total label during the same period as Some Experiences With Shock. This release brings together all the tracks from the cassette, as well as other titles from Die Form from this period. It is a kind of snapshot, close to the tear and chaos, where the machines and the out-of-control guitars are used as a support for the cry to final exhaustion. These are experimental and industrial creations, characteristic of this particular period/time, in the spirit of bands on No New York (Teenage Jesus, DNA, James Chance, Mars), and Suicide or Throbbing Gristle and SPK." - Rotorelief.

"Medical Records returns to Germany for the reissue of two essential pieces of wave history. MR-022 is the wunderbar release by Berlins DIE GESUNDEN. Die Gesunden (translated to the healthy ones) was the mostly the duo of MABEL ASCHENNELLER and ESCHI REHM (who sadly passed away on November 12, 2008). They were also joined on drums by THOMAS WYDLER (who later became known for his membership in NICK CAVE AND THE BAD SEEDS). Taking influences from Kraftwerk, Roxy Music, and Eno/Bowie (who were coincidentally recording Low in Berlin at this time), Die Gesunden was one of the first Neue Deutsche Welle outfits. The self-titled LP was released in 1982 on Innovative Communication which was the independent record label formed by Klaus Schulze in 1978 after Klaus became very interested in the earliest Berlin Neue Deutsche Welle bands (such as Ideal, etc). Mabel was very involved in the Berlin scene such as promoting local gigs for the early Einstuerzende Neubauten in 1981 and shows at the Exxcess club which also inspired the birth of Die Gesunden. Die Gesunden did fairly well around Germany with one of the highlights being a tour in 1981 supporting DAF (Deutsche Amerikanische Freundschaft). The LP is a diverse collection of songs that display a jagged electronic quality showcased throughout with hints of power electronics mixed with synth pop. Overall, the record is a very diverse listen and will surely appeal to fans of early Neue Deutsche Welle (early Der Plan) as well as proto-industrial and experimental new wave. At the same time, it is definitely one of a kind and has no record that it can be directly compared. Contains bonus track of cover of "Waiting For My Man." This reissue is presented on high-quality 180gram opaque "baby pink" vinyl. Features slight alteration and reinterpretation of the original front cover and redesigned back cover. Limited edition." -Medical.

"This release feautures Klopferbandes legendary tape which was released
on the wellknown DATENVERARBEITUNG label in 1981/1982. Klopferbande
sounds kinda like Darkwave with synth-Elements and is sometimes Punky
too." - Was Soll Das? Platten. Limited to 200 copies in silkscreened jackets.

“In 1981 the Düsseldorf band Die Krupps(Jürgen Engler, Bernward Malaka, Ralf Dörper) released theStahlwerksynfonie (Steelworks Symphony), a near-30-minute musical monolith of metal and guitar sounds with scattergun saxophone and shouts, held together by a monotonic bass line and stoic beat. TheStahlwerksynfonie proved a worldwide sensation as a nucleus of EBM and industrial rock. It stood as a direct descendent of Clusters early works, although Die Krupps mastermind Jürgen Engler was as yet unfamiliar with the output of his purported antecedents. The Stahlwerkrequiem is a 2016 version of this landmark work, recorded with Englers kindred spirits Mani Neumeier (Guru Guru), Jean-Hervé Peron and Zappi Diermaier(Faust), Pyrolator (Der Plan), and US post-rock musician Scott Telles. Jürgen Engler picks up the tale: "Listening to Lou Reeds Metal Machine Music almost every day, the Stahlwerksinfonie turned out as unconventional, radical and dark as intended, with the shows usually ending in total chaos. Mission accomplished. As I started digging deeper into the past of early 70s German Underground music in the late 80s, I discovered that there were bands who had also tried to break away from the musical past and explore the possibilities of ambience and noise, like Cluster. Their song “Live in der Fabrik” from the 1972 album Cluster II can be called the forerunner of what was to become Industrial in the early 1980s. Had I been aware of the track in 1980, I would have probably stepped back from the idea of doing the Stahlwerksinfonie. Fortunately I did not. Many years later, in the meantime having produced records and become friends with some of the original Krautrock artists, like Mani Neumeier of Guru Guru, Jean-Hervé Peron and Zappi Diermaier of Faust,Dieter Moebius of Cluster, Chris Karrer of Amon Düül, the idea grew on me to record an all new version of the Stahlwerksinfonie. What could be more inspiring than bringing together some of those free spirited minds? . . . The sessions had the same intensity as the recording session at Cans Inner Space studio in 1981, where the original Stahlwerksinfoniewas recorded. After the tracks were mixed, we brainstormed over who would be the perfect addition to the project. We immediately thought of Jean- Hervé and Zappi of Faust, and also of an old friend from early Düsseldorf Punk days, Pyrolator. He would be the missing link between early avant-garde and the later electronic Die Krupps. Full circle." - Bureau B.

“In 1981 Tom Dokoupil and Walter Dahn, two young and wild protagonists of the German underground, got together to create a new music project entitledDie Partei. Using his Siluetes 61 alias, Dokoupil was already known as something of a musical eccentric and as a member of The Wirtschaftswunder. Walter Dahn, a star pupil of Joseph Beuys, collaborated with Dokoupils brother Georg in the Mülheimer Freiheit art group, and played music in the Cologne scene which emerged around Can. A chance meeting between Dokoupil and Dahn led to their teaming up. They met in Dokoupils Studio 61, The Wirtschaftswunders workplace. Die Partei was christened a few sessions later and a plan made to create a concept album according to strict rules: they would record on a single weekend, the music would be instrumental, electronic and danceable, sprinkled with a few film quotes. Dokoupil and Dahn knew exactly the moods they sought to conjure up with their tracks. They only allowed themselves the use of certain instruments and adhered to a duality of contrasts: good/evil, beautiful/ugly (in terms of sound), fast/slow, rightist/leftist politics (with reference to the artwork). The last piece of the puzzle was an album title: La Freiheit des Geistes (trans. "The Freedom of the Spirit"). And heres what Sounds magazine wrote about the album in January 1982: "La Freiheit des Geistes is quite an accomplishment. Dokoupil and Dahn have succeeded in making a cheerful, relaxed dance record without resorting to funk or DAF. Warm sounds abound, mechanically swift rhythm machines barely register, sparse guitar, bursts of trumpet and saxophone. Topped with little melodies, as simple as they are memorable, not dissimilar to Yello.”” - Bureau B.

"In 1981 Tom Dokoupil and Walter Dahn, two young and wild protagonists of the German underground, got together to create a new music project entitled Die Partei. Using his Siluetes 61 alias, Dokoupil was already known as something of a musical eccentric and as a member of The Wirtschaftswunder. Walter Dahn, a star pupil of Joseph Beuys, collaborated with Dokoupils brother Georg in the Mülheimer Freiheit art group, and played music in the Cologne scene which emerged around Can. A chance meeting between Dokoupil and Dahn led to their teaming up. They met in Dokoupils Studio 61, The Wirtschaftswunders workplace. Die Partei was christened a few sessions later and a plan made to create a concept album according to strict rules: they would record on a single weekend, the music would be instrumental, electronic and danceable, sprinkled with a few film quotes. Dokoupil and Dahn knew exactly the moods they sought to conjure up with their tracks. They only allowed themselves the use of certain instruments and adhered to a duality of contrasts: good/evil, beautiful/ugly (in terms of sound), fast/slow, rightist/leftist politics (with reference to the artwork). The last piece of the puzzle was an album title: La Freiheit des Geistes (trans. "The Freedom of the Spirit"). And heres what Sounds magazine wrote about the album in January 1982: "La Freiheit des Geistes is quite an accomplishment. Dokoupil and Dahn have succeeded in making a cheerful, relaxed dance record without resorting to funk or DAF. Warm sounds abound, mechanically swift rhythm machines barely register, sparse guitar, bursts of trumpet and saxophone. Topped with little melodies, as simple as they are memorable, not dissimilar to Yello." - Bureau B.

"Three guiding principles of Die Radierer: 1. A band may originate from a provincial German town such as Limburg, but may still sound as great as DEVO; 2. Things become really interesting when one cannot tell when serious conceptual art starts and a childish wish to provoke ends; 3. Its always worth aiming to destroy the myth of "serious" rock music, or at least to die trying. Die Radierer ("The Erasers") were founded in 1978. This was a time when the domestic German new wave/post punk and "Schlager" music scenes collided and generated the German phenomenon of the so called Neue Deutsche Welle ("New German Wave"). Mostly relevant for the German-speaking countries, artists from that era that had their brief moment of fame internationally ranged from Trios "DaDaDa" to Nenas "99 Red Balloons". Die Radierer released their first single in 1980, in an era when many new opportunities opened up for young and enterprising musicians, or in case of Die Radierer, even for people strictly referring to themselves as serious "non-musicians"; Art school drop-outs with an attitude. The Radierers debut single, "Angriff Aufs Schlaraffenland", also proved to remain their most successful release. A heavy, yet thin beat, a childish melody, and a cheapo keyboard sound, accompanied by Dada-influenced lyrics, became to blueprint for the groups sound to come. The Punk! Pest! Pop! four-CD boxset contains the original three long players Eisbären & Zitronen (1981), In Hollywood (1983), and Gott Und Die Welt (1984), all originally released on the legendary ZickZack label, plus a fourth CD with 21 tracks ranging from singles, demos, plus some rarities. And, yes, there is a nice, detailed booklet included, but its only available in German." - Tapete.

"This contemporary Berlin outfits musikalische klänge is so perfectly informed by the bare-knuckled scrappers of the Neue Deutsche Welle fringe that one might half-expect to find a matrix for Pure Freude, Rondo or Moderne Musik Tontrager scratched into the runoff. But, no, its here, its now, and its the first German release ever on Siltbreeze. If the frenzied staccato of S.Y.P.H., Das Name or Mittagspause is what helps goose the lederhosen up the legs, then DIE SCHACHTa gurgling oink is the perfect lube to slap them around the hips. Pressed in an edition of 300 copies." - Siltbreeze.

"Tracks A2 & A11 was originally released on the Lachend Strahlend Lebensfroh 7" on "No Name Label" (1982).
Track A3 was originally appear on the Musik Aus Bremen compilation on "Heimat Records" (1982).
Track B6 was originally appear on the Pesthauch Des Dschungels compilation on "Park Platten Records" (1984).
All other tracks are previously unreleased.
Limited to 150 copies with silk screened sleeves. Includes A3 poster. This one has a copy of the original tour poster from 1983 on the one side and the discography from the artists with rare photos on the other side." - Discogs.

Silkscreened box with "Unser Debut" (1984) and "SECHS" (1986) on transparent vinyl, a facsimile of a poster explaining the concept of the album, "infosheet," and a letterpress print signed and numbered by Wolfgang Müller of the band.

“A unique concept: In 1984 the band released their vinyl album Unser Debut, followed two years later by Sechs. Soon after they issued a big sized poster explaining the concept of both records and their secret 5th LP content. When played on two turntables simultaneously, the tracks form brand new tracks. Each corresponding track on both records has the same length and is composed to accompany the counterpart, thus forming fitting new tracks.”

"Die Tödliche Doris was born out of West Berlins lively post-punk community in the early 80s. Along with Einstürzende Neubauten, Malaria, Sprung Aus Den Wolken and Frieder Butzmann, Die Tödliche Doris ranks amongst the Geniale Dilletanten -- which roughly translates as ingenious dilettantes -- who sought to democratize cultural productions beyond the grip of both Western capitalism and GDR socialism. The Geniale Dilletanten became synonymous with a free-for-all approach to music, film, painting and performance where participants encouraged raw expression through provocation and experimentation. Wolfgang Müller and Nikolaus Utermöhlen founded Die Tödliche Doris in 1980, presenting the public persona of Doris as a constantly shifting entity that deliberately engaged the contradictions of the human condition. The band often referenced themselves in the third person singular, alluding to Doris as a fully-formed female character with explosive, colorful emotions. For her debut album -- originally released on Zickzack in 1982 and playfully titled " " (that is, blank space surrounded by quotation marks) -- Doris most closely entertains the notion of a typical rock band with drums, bass and guitar. Produced by Neubautens Blixa Bargeld, the thirteen songs presented here are disquieting lullabies of profound anxiety, savage and primitive deconstructions of German polka and manic lacerations of punk minimalism: all reflections of the many and fractured personalities of Doris. This first-time vinyl reissue includes a reproduction of the original 24-page booklet." - Etats-Unis.

Sixth in a series of 6 LPs reissuing late 70s/early 80s cassette-only material from ⿿the most radical, intelligent and influencial german avantgarde-band of the last two decades⿝. All are numbered editions of 500 pressed on heavy vinyl and packaged in multicolored, embossed sleeves. "During the years 1980-87, German trio Die Tšdliche Doris (Deadly Doris) was a vital presence in the Berlin underground music and art scene. Early records on cult labels Zickzack and Atatak revealed Doris as a willfully obscure component of the neue deutsche welle, and their live shows melded their particular brand of raw post-punk cacophony with high-minded performance art sensibility." - Psychedelic Pig.

Second in a series of 6 LPs reissuing late 70s/early 80s cassette-only material from �??the most radical, intelligent and influencial german avantgarde-band of the last two decades�?�. All are numbered editions of 500 pressed on heavy vinyl and packaged in multicolored, embossed sleeves. Das Typische Ding includes Audiotape 1981. "During the years 1980-87, German trio Die Tšdliche Doris (Deadly Doris) was a vital presence in the Berlin underground music and art scene. Early records on cult labels Zickzack and Atatak revealed Doris as a willfully obscure component of the neue deutsche welle, and their live shows melded their particular brand of raw post-punk cacophony with high-minded performance art sensibility." - Psychedelic Pig.

First in a series of 6 LPs reissuing late 70s/early 80s cassette-only material from �??the most radical, intelligent and influencial german avantgarde-band of the last two decades�?�. All are numbered editions of 500 pressed on heavy vinyl and packaged in multicolored, embossed sleeves. Der Siebenköpfige Informator includes Dokumente zur Zeit 1979-1980 and Auditape 1981. "During the years 1980-87, German trio Die Tšdliche Doris (Deadly Doris) was a vital presence in the Berlin underground music and art scene. Early records on cult labels Zickzack and Atatak revealed Doris as a willfully obscure component of the neue deutsche welle, and their live shows melded their particular brand of raw post-punk cacophony with high-minded performance art sensibility." - Psychedelic Pig.

"Third in a series of 6 LPs reissuing late 70s/early 80s cassette-only material from the most radical, intelligent and influencial german avantgarde-band of the last two decades. All are numbered editions of 500 pressed on heavy vinyl and packaged in multicolored, embossed sleeves. Die Uber-Doris is from 1981/85. " - VOD. "During the years 1980-87, German trio Die Tšdliche Doris (Deadly Doris) was a vital presence in the Berlin underground music and art scene. Early records on cult labels Zickzack and Atatak revealed Doris as a willfully obscure component of the neue deutsche welle, and their live shows melded their particular brand of raw post-punk cacophony with high-minded performance art sensibility." - Psychedelic Pig.

"During the years 1980-87, German trio Die Tödliche Doris was absolutely legendary in the Berlin underground music and art scene. Embodying the pure, obscure spirit of "neue deutsche welle," their releases and live shows revealed a raw post-punk sensibility with performance art. Die Todliche Doris are still widely considered one of the most radical, intelligent and influential German avantgarde bands of the last two decades. Now this DVD brings the music of the legendary, long unavailable LP Gehörlose Musik from 1981 back to life -- in the guise of gestures, signs, interaction and movement. Each DVD is hand-numbered and available only in a limited edition of 1,000 -- once gone, will be gone forever. In November 1998, Wolfgang Müller, founder of Die Tödliche Doris, decided to re-release the bands sought-after and long unavailable first vinyl LP. However, not as sound, but as a gesture: sign language interpreters Dina Tabbert and Andrea Schulz translated and reshaped the lyrics and music of the album using nothing but signs and gestures. The result of this transmutation is a "soundless" music, expressed entirely within and through the body. Many hearing-impaired people -- and an equal amount of those who could hear just fine -- made their way to the Prater at the Berliner Volksbühne to witness this process as part of a series of events called Gehörlose Musik (music for the deaf or "soundless music"), initiated by "Freunde guter Musik" (friends of good music). And the result is no dance, no performance, no music -- it constitutes a new form of art defying conventional definition. The DVD can be played in sign language option, or music option and also contains an interview with Wolfgang Müller as well as a 24-page booklet with writing and photographs. Comes encased in a slip-lid box with banderole. Format: DVD 5; Language: German; Subtitle: German/English; Format: NTSC, 4:3, Region: 0; Time: ca. 60 min. Booklet: 48 pages, German/English." - Edition Krothenhayn. 2006 release.

"During the years 1980-87, German trio Die Tšdliche Doris (Deadly Doris) was a vital presence in the Berlin underground music and art scene. Early records on cult labels Zickzack and Atatak revealed Doris as a willfully obscure component of the neue deutsche welle, and their live shows melded their particular brand of raw post-punk cacophony with high-minded performance art sensibility. This overdue release, whose title translates to Nursery Rhymes for True Fools of the Grail, adds greatly to the canon as it is only the second CD by Die Todliche Doris, and contains 20 strange, rare and unpublished tracks from 1980-85. In addition to a wide cross-section of previously unreleased live material, it culls several unheard recordings from the Doris archive, and documents some unusual collaborations, switched identities and lo-fi early tracks such as Doris Intakt, Schuld-Struktur and the groups primitive take on Warm Leatherette. With photos, fully annotated liner notes and an attractive package designed by Richard Chartier, this CD will prove a valuable document to both Doris cognoscenti and neophytes alike. Limited edition of 750 copies." - Psychedelic Pig.

Fifth in a series of 6 LPs reissuing late 70s/early 80s cassette-only material from �??the most radical, intelligent and influencial german avantgarde-band of the last two decades�?�. All are numbered editions of 500 pressed on heavy vinyl and packaged in multicolored, embossed sleeves. "During the years 1980-87, German trio Die Tšdliche Doris (Deadly Doris) was a vital presence in the Berlin underground music and art scene. Early records on cult labels Zickzack and Atatak revealed Doris as a willfully obscure component of the neue deutsche welle, and their live shows melded their particular brand of raw post-punk cacophony with high-minded performance art sensibility." - Psychedelic Pig.

"A warehouse find brought this rare LP from 1986. The Tšdliche Doris ended their musical career with a live record. Listening to the record, one notices how the sound becomes worse from piece to piece. The reason for this is not the bad quality of the recordings, but a deliberate concept: The group played each piece live only once. For subsequent concerts the Tšdliche Doris used the original recording as a playback, to which they feigned. This was in turn recorded with the applause and sounds of the respective audience. This process was repeated several times, so that by the last piece of this layer cake on can hear the sound of seven auditoriums at the same time. The original music exits only as a distorted and blurred noise in the background." - Reinhard Wilhelmi.

"6 Vinyl-Boxset incl. their first 6 legendary and highly collectable tapes (1980-84). The most radical, intelligent and influencial German avantgarde band of the last two decades. The box contains heavyweight vinyl editions of Der Siebenköpfige Informator, Das typische Ding, Die �?berdosis, Tabea und Doris, Live im SO 36 and Live im Delphipalast." - Vinyl On Demand. Limited Box Set version. The LPs are also available seperately.

Fourth in a series of 6 LPs reissuing late 70s/early 80s cassette-only material from �??the most radical, intelligent and influencial german avantgarde-band of the last two decades�?�. All are numbered editions of 500 pressed on heavy vinyl and packaged in multicolored, embossed sleeves. Tabea und Doris is from 1981. "During the years 1980-87, German trio Die Tšdliche Doris (Deadly Doris) was a vital presence in the Berlin underground music and art scene. Early records on cult labels Zickzack and Atatak revealed Doris as a willfully obscure component of the neue deutsche welle, and their live shows melded their particular brand of raw post-punk cacophony with high-minded performance art sensibility." - Psychedelic Pig.

"Early eighties sound-project and conceptual work from 1984 also known as Gerry Belz. Worlds of music ringed out on our planet. Simultaneously blown out, not attuned but still tuned incidentally, partly at on purpose. In 1984, Die Tödliche Doris was given the chance for such a coincidence of two different worlds. They were invited to compose the music for a fashion-show in the Deplane Kunsthalle Berlin. For the first time, this fully documented composition consists of 24 Audiotapes with sounds and music-recordings which were recorded and then played with different technically defect tape-recorders and which were accompanied of the band Gerry-Belz-Showband which has been selected from the employment-office in Berlin. The repertoire of the three olderly men did consist of the usually well-known evergreens of entertainment and light-music.
Die Tödliche Doris is sometimes referred to an industrial-band. In fact, the group has played and cooperated with SPK and Twin Vision. If there is any music of the band which can be referred to Industrial, then it is this project here, which was only released in certain pieces to this point." - Vinyl-On-Demand.